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TSE 



ART OF PITCHING 

AND 

RIEIaDINO. 

A Work containing Instructive Chapters n all the Latest Points of Play in Base Ball Pitching 

INCLUDING 

SPECIAL METHODS OF DELIVERY, THE PHILOSOPHY OF THE CURVE, 
THE TACTICS OF A STRATEGIST, HEADWORK IN PITCHING, 
THE EFFECTS OF SPEED, THROWING TO BASES, BALK- 
ING, PITCHING BY SIGNALS, BATTERY WORK, 
CHANGE OF PITCHERS, TECHNICAL 
TERMS USED IN PITCHING, 



TOGETHER WITH THE 




Best Pitching Averages and Records for 1885, 



AND THE 



New Rules for Pitching for 1886. 



SPECIAL ARTICLES ON B\TTERY WORK IN FIELDING. THE PITCHER AND 
CATCHER AS FIELDERS. THE INFIELD. FIRST BASE PLAY. THE 
SECOND baseman's WORK. THIRD BASE PLAY. SHORT 
FIELDING. THE OUT-FIELDER'S WORK. BACKING- 
UP. THROWING TO FIRST BASE. THE CAP- 
TAIN OF THE NINE. HOW TO 
CAPTAIN A TEAM. 



HEXBY CHAW^C^^^Y 1 1886. 
GEO. H. BENEDICnP>^WASHiNGl^ 



PUBLISHED 5Y, 

A. G. SPALDIJS^G & BROS., 

108 Madison St., CHICAGO. 241 Broadway, NEW YORK. 




BASE BALL FIELD. 



{^-'?-iob% 



PREFACE. 

The revised edition of "The Art of Pitching and 
the Art of Fielding," forming a part of Spalding's 
Library of Athletic Sports for 1886, contains 
a new departure alike in the form of publication and 
in the extent of the ground covered by the books. 
The new edition of the hand-books combines the 
works on pitching and fielding together in one vol- 
ume of over two hundred pages, and the books on 
batting and base-running in another volume. To 
each work has been added the statistics of the past 
season showing the best average play in each depart- 
ment of the players of the National League, the 
American Association, the Eastern League and the 
Southern League. 

This first volume contains instructions in the art of 
pitching and fielding, and the revision given it by the 
author, has led to a decided improvement in both 
works. The series of two volumes containing the 
four works of instruction, should be in the hands of 
every member of a professional base ball team, while 
itwill be found equally of advantage for the amateur 
class of the fraternity. These books will be revised 
each year, and all the new rules and new points will 
be added, as also the past season's records of best 
averages, etc. 

(3) 



INTRODUCTION. 



There are two ways of learning to play base ball; 
the one is to learn it for objects of recreation ^nd ex- 
ercise, and the other in order to become a noted and 
skilful professional exemplar of the game. The 
former involves but little trouble, inasmuch as the 
theoretical knowledge requisite for the purpose can 
readily be acquired in an hour's study of any standard 
work on the game, while an afternoon's practice on 
the field, in an amateur contest, will afford all the 
practical information necessary. To become a profes- 
sional expert, however, not only requires an attentive 
study of all the rules and special points of the game 
but also a regular course of training in order to fully 
develop the physical powers, with a view to insure 
the highest degree of skill in each' and all of the 
several departments of the game. This latter is a 
task which demands persevering application, fatiguing 
exertion, plenty of nerve and pluck, thorough control 
of temper, considerable powers of endurance, and, 
withal, the physical aptitude to excel in one or other, if 
not in all, of the four special departments of base ball, 
viz, Pitching^ battings base-rzmning^ ^\\d yielding. 

The theory of base ball is as simple as that of any 
field sport in vogue, and herein lies one of its attractive 

(5) 



6 INTRODUCTION. 

features. And yet to play the game up to its highest 
point of excellence requires as great a degree of men- 
tal ability, and the possession of as many manly 
physical attributes, as any known game of ball. 

Professional ball playing has of late years taken 
giant strides in popularity; and this advance has been 
largely due to the fact that stock company base ball 
organizations have found it absolutely necessary to 
their pecuniary interests, in investing their capital, 
that the game should be played in its integrity. 
Honesty in the ranks was several years ago shown to 
be not only the best policy to pursue, but a vital 
necessity in the preservation of the very life of 
professional playing. "Crookedness" among profes- 
sional base ball players has been weeded out from 
the fraternity by strong coercive measures; and the 
lesser evils which have brought discredit on the class, 
are rapidly being eliminated from the game by 
means of the repressive rules of the comprehensive 
"national agreement," which joins every well con- 
ducted professional organization in a combined effort 
to make professional ball playing an honorable oc- 
cupation. 

Within the last two or three years there has been a 
marked improvement in the character and standing 
of professional ball pla3^ers. Tempted by the lucra- 
tive advantages of becoming a professional ball 
player, young men of marked intelligence and of 
superior education to the general class of the fraternity 
have entered the arena, and with the advent of this 



INTRODUCTION. ^ 

latter class of men has come a higher degree of in- 
tegrity in the occupation. In fact, It is no longer 
considered discreditable to engage in the occupation 
of a professional ball player as it was a decade past, 
when the professional exemplars of the game were a 
few of them under the influence of the pool-gambling 
element. And just here, let it be stated, that the 
professional stock company organizations never ad- 
ministered a severer blow to dishonesty in the ranks 
than when they prohibited pool gambling on all 
professional association club grounds. There never 
has been, nor is now, a greater evil connected with 
all American sports than the curse of pool selling, 
which is the blight of all honorable professional work 
in sports of all kinds. Fortunately our national 
game is sufficiently attractive to draw crowded as- 
semblages of spectators by its own healthy excitement, 
without the extrinsic aid of the pool box to attract 
large gatherings of people. 



THE ART OF PITCHING. 

Of the four departments of the game qf base ball, — 
viz.! Pitching, Batting, Base Running, and Fielding — 
the delivery of the ball to the bat is the most impor- 
tant. Indeed, the "battery" of a club's team, that is 
the pitcher and catcher, is the main feature of the at- 
tacking force in a contest, and it is chiefly on the 
excellence of the " battery" work that success in a 
match depends. Of course, effective catching greatly 
contributes to a pitcher's success; but the best of 
catchers would be of comparatively little avail, unless 
he was faced by a first-class occupant of the pitcher's 
"box." Therefore, the pitcher of a base ball nine is 
regarded as the principal player of the diamond field. 

There are five distinct methods of delivering the 
ball to the bat in base ball, the pitcher having the 
choice of the simple toss of the ball, the jerk^ the 
regular pitchy or the underhand or overha^id throw. 
He also has the choice of the round-arm form of de- 
livery, as practiced by the towler in cricket. This 
latter form, however, is rarely used. The prevailing 
rule of delivery, is that of the underhand and over- 
hand throw, the latter now being legal under all 
the codes of rules. With the choice of such a variety 
of forms of delivery at command, it will be seen that 
(8) 



THE ART OF PITCHING. p 

the pitcher only needs to attain that degree of pro- 
ficiency in pitching which will give him perfect 
control of the ball, as regards accuracy of aim, and 
the power to impart that bias to the ball which 
yields the puzzling curve in the line of its delivery, 
to place him in the position of being able to take 
every advantage of the additional aid strategy will 
give him in fully acquiring the art of effective 
pitching. 

No pitcher can ever excel in the art who is not 
more or less of a strategist in his work. He may be 
able to send in the ball to the bat with unwonted 
speed, and also to add the "curve" to his delivery, and 
yet, from his ignorance, or neglect of strategic play, 
— or what is technically known as " headwork" — in 
his position, he will rank only as second-rate player 
in the " box." As far as it applies to pitching the 
elements of strategic play may be summed up as 
follows: — First, to deceive the eye of the batsman in 
regard to the character of the pitching, as to its being 
fast or slow. Second, to puzzle his judgment in 
reference to the direction of the coming ball, as to its 
being higher or lower than the height he wants it. 
Third to watch the batsman closely so as to take 
prompt advantage of liis being temporarily "out of 
form" for effective batting, and lastly, to tempt him 
to hit at a ball so as to send it high to the outer-field, 
where the pitcher has placed one or two men ready 
to catch it. A pitcher who never resorts to strategy 
in his method of delivery, will go on, inning after 



lO THE ART OF PITCHING. 

inning, sending in the ball with all the speed at his 
command, without thinking of anything but "pace" 
and the "curve" as elements of success in his work. 
Such pitchers are mere machines in their position, and 
in comparison with those who disguise their change 
of pace, watch the batsman closely, and who use 
"headwork" in their pitching, the mere swift curve 
pitcher is nowhere in his efforts to outwit his batting 
opponents. 

The pitcher, far excellence^ has not yet been seen 
on the diamond field, though the point of perfection 
has been approached at times. From the days of 
Creighton, of the old Excelsior nine of i860, who 
then had no peer in his position, up to the season of 
1886, some very fine work had been accomplished in 
base ball pitching, notably so during 1885. But the. 
large majority of professional pitchers still have a 
great deal to learn — even in these days of the ad- 
vanced condition of the art — before they can reach 
the comparatively high mark Creighton did in 
the earlier history of base ball pitching. After 
Creighton, came Martin of the old Mutual nine, the 
feature of whose delivery was his marked skill as a 
strategist, his forte in pitching being his tossing in a 
slow ball, which was either missed by the puzzled 
batsman, or sent up in the air so as to be easily caught. 
His most noteworthy successor, Spalding, of the cham- 
pion Boston team from 1871 to 1876, was the ablest 
strategic pitcher ever seen in the "box," from the days 
of Creighton up to the time of the general intro- 



THE ART OP PITCHING. I I 

duction of the swift-curved line method of deliver}-. 
The curve-line of delivery was first practically 
developed in pitching, by Arthur Cummings of the 
old Star nine of Brooklyn. It had frequently been 
noticed that many players in throwing the ball in 
from the out-field would throw it in in such a way as 
to make it curve through the air, and in such a line of 
motion as to prove conclusively that the curved line 
was produced by some force other than the effect of 
the wind, or that of gravity. When this curve was 
practically brought to bear in pitching, it led to quite 
a controversy among scientific men in our colleges, 
such a thing as a horizontal curve bemg imparted to 
a ball in its passage through the air, having been re- 
garded as an impossibility. It was conclusively 
proved, however, by a practical test in Cincinnati, — 
referred to elsewhere — and the solution of the j^roblem 
turned out to be a very simple matter. The introduc- 
tion of the curve made quite a revolution in the 
pitching department, and little else was thought of 
for a few seasons, as an element of success in pitching, 
until the batting began to recover from the demoral- 
izing effect the curve had had upon it. Now, how- 
ever, something more than either mere speed or the 
curve has been found necessary to give the attacking 
force a winning advantage over the defence in the 
base ball field, and it has been found necessary to 
combine strategy with the other essential elements of 
success in pitching. As before remarked, the three 
great elements of effective pitching in base ball, are: 



12 THE ART OF PITCHING. 

First, thorough command of the ball, without which, 
strategic play in the position is next to impossible. 
Second, the power to send in the ball with speed, and 
also the power to impart that peculiar bias or "twist" 
to the ball, which produces the curved line in all its 
variations: and Third, the endurance to stand the 
fatigue of the work of swift pitching, and the 
pluck and nerve to coolly stand the hot fire of the hit- 
ting which marks a successful punishment of swift 
curved pitching by experienced and skillful batsmen. 
Combined with these is the great essential of strategic 
skill in pitching, without which element, no pitcher 
can ever reach the goal of complete success in his 
position. We shall take up these elements in regular 
order, fully illustrating the merits and points of each 
in a separate chapter. 

ON COMMAND OF THE BALL. 

The first essential in base ball pitching is a 
ihorough cofn77iand of the ball. A pitcher mas- 
possess the power to pitch swiftly, to curve the ball 
and the judgment to excel in strategy; yet of what 
avail are these essentials unless he has thorough 
control of the ball in delivery? Therefore the very 
first thing a novice in the art of pitching should do 
at the very outset of his learning how to pitch, is to 
obtain complete control of the ball in pitching so 
that he may be able to send it in just where he wants 
it to go. Especially i- this command of the ball 
necessary in the use of the curve. Of what advantage 



THE ART OF PITCHING. 




STRAIGHT DELIVERY. 

Grasp the ball securely between the first and second fingers 
with the thumb on the opposite side, the other fingers being 
closed in the palm of the hand. Deliver the ball to the bats- 
man with all possible speed, either by a straight throw from the 
shoulder or by an underhand throw at a level with the waist. 
In this, as well as all other deliveries of the ball, the pitcher 
should exert himself to retain absolute command of the ball if 
possible. 



14 THE ART OF PITCHING. 

to a pitcher Is the power to curve the ball, unless he 
can control it so as to make his delivery accurate, or 
to use it or not, as occasion may require? In fact, 
the full effect of the power to curve the ball can only 
be realized when that power is one the pitcher can 
use at will. It is frequently as effective to temporarily 
drop the curve delivery as it Is to send in the curve 
ball when It is not looked for. Then, too, it is essen- 
tial to change the direction of the curve from an ''out- 
curve" to an "in curve," and from an "up-shoot" to a 
"down-shoot," and this can only be done when the 
pitcher has every such movement of the ball under 
complete control. Pitchers frequently have full com- 
mand of one kind of a "curve" or "shoot" of the ball, 
while the other comes to them only by chance, as it 
were. This fault should be obviated by a thorough 
study of the subject, so as to remedy the difficulty by 
becoming as familiar with one curve as with the other. 
All this involves complete command of the ball and 
this point of effectiveness must be reached by attentive 
and constant practice before the pitcher can avail 
himself of the valuable assistance of strategic play 
in his position. 

SPEED IN DELIVERY. 

The effectiveness of mere speed in pitching depends 
largely upon the character of the batting the pitcher 
has to face, and also upon the ability of the catcher 
to stand the hot fire of the delivery. Weak and 
timid batsmen who fear the speed of the pitching too 



THE ART OF PITCHING. 1 5 

much to be able to use their judgment in facing it, 
and who only think of the best way to avoid being 
hit, can readily be intimidated by very swift pitching 
so as to be struck out with ease. But when a nervy 
plucky batsman faces a swift delivery, and brings 
his judgment to bear on the tactics of the attacking 
force, it is found that mere speed costs more in wild 
pitches, and called and passed balls than it yields in 
outs or strikes. Besides which, such class of batsmen 
frequently find opportunities to punish the mere 
swift pitching by quick wrist-play batting long before 
the third strike is called from it. In fact, speed in 
delivery is only advantageous when it is made part 
and parcel of strategic work in pitching, and not when 
it is the only feature of a pitcher's work in the "box." 
There were several very striking illustrations of 
the inferiority of mere swift pitchers to strategists 
in the "box" afforded during the season of 1885 
strategy taking an important lead over mere speed in 
delivery. The pitching of Whitney of the Boston 
club was nowhere in comparison, for instance, with 
that of Keefe,'of New York, Clarkson, of Chicago 
Radbourn, of Providence, Buffinton, of Boston, and 
others of the noted strategic pitchers of 1885. 



l6 THE ART OF PITCHING. 



THE CURVE. 



How to impart the bias to the ball which causes it 
to make a curved horizontal line in its progress to 
the bat, is a very important part of the practical 
knowledge of the art of pitching. A glance at the 
theory of the curve will enable the young pitcher to 
get the idea as to how it is done, and then he can 
very readily find out by practical experience the best 
way to carry it into effect. The theory of making a 
ball curve to the right or left horizontally in its pass- 
age through the air, is based on the fact that there is 
a retarding effect produced on that side of the ball 
which passes through the air quicker than the other 
side; and to produce this additional rapidity of motion 
a rotary movement is given to the ball as it leaves 
the pitcher's hand which causes it to revolve on its 
own axis horizontally as it passes through the air; 
and the natural efiect is to retard its progress on one 
side, thereby causing it to make a curved line in the 
direction of the side on which it is retarded. That is 
the theory of the horizontal curve in pitching. Its 
application in practice is to learn to give the ball the 
necessary bias or rotary motion to the right or the 
left in order to produce the in-cr.rve or the out-curve. 
For instance, the appended diagram illustrates the 
lines of direction of a curved ball, the straight arrow 
showing the forward motion of ball through the air, 
and the bent arrow the rotary movement on the 
ball's own axis. The bias to the ri<jht or the left, is 



THE ART OF PITCHING. 



17 



imparted by a movement of the wrist. It is impossi- 
ble to describe the action of the hand and wrist in 
imparting this bias to the ball, the only way of ac- 
quiring a practical knowledge of it being by the 
example of an expert curve pitcher, or by testing it 
by repeated trials until the curve is attained. The 
diagfram above referred to is as follows: 




The methods of grasping the ball when about to 
curve it are shown in the appended cuts: 




i8 



THE ART OF PITCHING. 



The following cut illustrates the effect of the curve, 
the diagram sliowing the in-curve: 




A ball delivered by the pitcher from where he stands 
at A, if sent forward without any curve, would go in 
the direction of the dotted line, and would be stopped 
by the center fence. With the rotary motion impart- 
ed to it, as shown in the first diagram, it would curve 
to the left, making what is known as the " out- 
curve." If the rotary motion given it is to the left it 
would go from the pitcher to the catcher as shown in 
the above cut, thereby producing the in-curve. 

The effect of the bias given the ball in causing it 
to make a curve to the right or left, is governed by 
the speed of the delivery, as well as the rapidity of 



THE ART OF PITCHING. I9 

the rotary motion of the ball on its own axis. Thus, 
as the speed of the forward motion of the ball relaxes 
the bias given it begins to take effect, and just as the 
rotary motion is rapid or moderate, so is the curve 
greater or lesser. The great point in curve pitching 
is to combine with the power of curving the ball that 
of controlling its direction so as to send it in over the 
home base, and at the height called for when occasion 
requires. It is comparatively easy work to send a 
ball in fast, and at the same time to curve it to the 
right or the left; but the great point is at the same 
time to direct it over the home base. Whenever a 
pitcher possesses sufficient command of the ball to 
admit of his sending in a swift curved-line ball just 
where he wants it to go, he becomes '* a bad man" 
for any batsman to face, provided, of course, that 
with such command of the ball he also knows how 
to avail himself of skillful strategy in his pitching. 

It should be borne in mind in using the curve that 
the speed of the delivery has a great deal to do with 
the distance from the hand of the pitcher that the 
curve in the line of the ball will begin to manifest 
itself, as also the speed of the rotary motion of the 
ball on its own axis. This is shown in the fact of the 
difference between the curve of a ball pitched forward 
swiftly, but with a comparatively slow twist imparted 
to it, and a ball pitched forward at a medium pace 
with a very swift twist given it. 

A student at the Naval Academy in a very interest- 
ing letter to the Si. Nicholas Magazine of last Feb- 



20 THE ART OF PITCHING. 

ruary, thus gives his experience of the curve in its 
effect on his batting. He says ; 

" I shall not readily forget the chill autumn afternoon, some 
twelve years ago, when in my first match game, played on the 
grounds of the Naval Academy , the reality of curved pitching 
was most forcibly and discouragingly brought home to me by 
♦•three strikes and out!" The "in-curve" was no new thing as an 
inconstant feature of the "underhand throw;'' but this was my 
first experience with the "out-curve," at least, as a matter un- 
der the control of the pitcher, and not a mere unin- 
tended accidental course of the ball. Obtaining no help toward 
an explanation from those to whom I applied (on the contrary, 
many assurances that it was a physical impossibility), I studied 
the subject and promptly'- arrived at an easy solution, satisfact- 
ory to most persons with whom I have discussed it. As this 
may be of interest to some of your readers, I take the liberty of 
presenting it. 

The ball in its flight is retarded in its forward motion by the 
resistance in the air, which acts upon it precisely as though the 
ball were at rest, and the wind blowing against it at a rate equal 
to the motion of the ball. This exerts a pressure on the front 
of the ball and a friction on its sides, just as the water so mani- 
festly does upon a vessel. If the ball is merely moving straight 
forward, the friction is the same on top and bottom, right and 
left, and the effect is only to slow the forward motion. But if 
the ball rotates as well as moves forward, we have a changed 
relation — a part of the ball's surface is moving against the air 
with greater rapidity than the rest, as a diagram will make 
clear. If the ball (or strictly its center of gravity) is moving 
forward (let us say at the rate of one hundred feet per second) 
and at the same time it is revolving so that points on its equa- 
tor are traveling around its center at an equal rate, it is evident 
that d is traveling backward as fast as the ball, as a whole, 
moves forward ; while b is moving forward at its own rate 
^lus that of the center — that is, twice as fast as c. As the fric- 



THE ART OF PITCHING. 21 

tion of the air increases with the velocity of the moving ob- 
ject, it must be greatest at b and least at d^ being really zero at 
founder the conditions given. The (5 side of the ball is there- 
fore retarded more than the center or any other part, while the 
d side suffers no retardation. The result must be a curve to- 
ward the retarded side. When the rotation is on a nearly ver- 
tical axis, this effect will be at its maximum, and, accord- 
ing to the direction of its "twist," the ball will curve to the 
right or to the left — "m" or '•''oictP 




p. 

In this explanation the effect of gravity is assumed to be 
nearly a constant force, and not knowing the approximate ve- 
locity of *'swift pitching," I do not attempt to consider whether 
the resistance of the air is proportional in this case to the first 
power, the square or the cube of the velocity. These points 
can affect the question o^ degree only. This is merely a solu- 
tion as worked out by a boy, and possibly of interest to other 
boys. Looking recently at a treatise on gunnery, I found the 
explanation far more fully and scientifically set forth, with 
careful consideration of all the elements of the problem, in 
connection with the "drift" of a shot fired from a rifled cannon." 

This theory of the curving of the base should be 
well studied up by every pitcher desirous of improv- 
ing himself in his work. The more it is studied the 
more will possibilities for new points of strategic play 
in the position be developed. 

The following cuts illustrate some of the positions 
in delivering and curving the ball, but it is only by 
personal instruction that the method of delivery can 
be etfectively taught. 



22 



THE ART OF PITCHING. 




IN-CURVE. 



Grasp the ball securely with all the fingers, the thumb 
pressed firmly against the opposite side. Throw the ball at a 
height equal to the shoulder and at the instant of releasing it 
from the hand, twist quickly outward, allowing the ball to 
twist off the ends of the first two fingers. 



THE ART OF PITCHING. 



23 




OUT-CURVE. 



Secure the ball in the hand by pressing it firmly between the 
first two fingers and the thumb, with the third and little fingers 
closed in the palm of the hand. In delivering the ball to the 
batsman throw the arm forward midway between the shoulder 
and waist, and at the moment of releasing the ball, turn or 
twist the hand quickly to the left. 



THE ART OF PITCHING, 




HIGH IN-CURVE. 

Hold the ball between the first two fingers and the thumb. 
Throw the arm forward with the hand above the shoulder. 
Twist the hand downward smartly, letting the ball roll off the 
ends of the fingers as the grasp is released. 



THE ART OF PITCHING. 25 

DISGUISED CHANGE OF PACE. 

One of the most effective points of play in pitching 
is a well disguised change of pace in delivery. 
Nothing bothers a batsman more than to be prepared 
to strike quickly at a sw^iftly pitched ball only to 
find that his stroke has been too quick to meet the 
ball squarely on the face of the bat, ov^^ing to the 
lessened speed of its delivery. The same, too, when 
in anticipation of a slow or medium paced ball he hits 
right out from the shoulder, only to see the ball 
flash by his at bat the utmost speed of the pitcher. 
It requires a keen-sighted, nervy, and experienced 
batsman to be ready to meet a well disguised change 
of pace with any effect. Of course it will not do for 
the pitcher to openly make a chan ge in the speed of 
the ball; as all its effectiveness lies in his deceiving 
the judgment of the batsman as to the pace of the 
ball. To make the preliminary movements of a 
swift deUvery, and then to be able to suddenly 
lessen the strength of the throw, without any ap- 
parent change of motion in the act of throwing, is 
not a very easy task. It can be done, however, and 
has been, and with telling effect on the large majority 
of batsmen. It is an especially effective point when 
facing one of the class of heavy hitting 'batsmen, the 
regular "slugging" home run hitters, who, as a 
general rule know rather less about scientific batting 
than the youngsters of a school boy nine. 



26 THE ART OF PITCHING. 

The pitcher should make a point of practicing this 
change of pace so as to thoroughly disguise the differ- 
ence in the speed of the ball. If done well and so as 
to deceive the batsman's judgment as to the speed of 
the coming ball it will invariably yield a strike, 
called, or an easy chance to throw the runner from 
home base out. 

An essential aid in making this change of pace is to 
have a perfect understanding with your catcher as to 
the code of signals which will indicate to him that 
you are about to deliver a swift or a slow ball. This 
code should be arranged beforehand, or otherwise. If 
you send in a slow ball after a swift one, or vice 
versa^ your catcher will be likely to have a passed 
ball charged to him. Of course the signals must be 
disguised as well as the change of pace, or all the 
strategic effect will be lost. In changing from swift 
to slow in your pace, see that your slow ball is not 
such an one as would be likely to suit the batsman for 
a favorite hit, or, if it be so, be sure that you have 
your out-fielders prepared for the expected chance for 
a catch. There is no virtue in a slow bcill itself, but 
only in the strategic skill accompanying its delivery. 
In the old days of Martin's pitching of slow balls, 
the efFectiveuess of his delivery was not in slow pace 
of the balls he sent in, but in his never sending in a 
ball to suit the batsman, it either being too far out or 
too close in, or too high or too low. When he did 
send in a slow, fair ball, it was when the batsman was 
found unprepared to meet it. 



THE AliT OF PITCHING. 27 

CATCHING BATSMEN OUT OF FORM. 

A very effective point in pitching is to watch the 
movement of the batsman closely, while he is standing- 
ready to strike, so as to catch him unprepared to hit 
a*'straight" ball with any effect, or if so prepared, 
not ready to hit the ball he has called for, the 
"straight ball" referred to being a ball over the plate 
and at the height called for. This catching the 
batsman out of form invariably yields a called strike or 
an out. To play the point effectually there requires 
to be an understanding between the pitcher and the 
catcher, not only in order that the latter should be 
quick and prompt in his return of the ball to the 
pitcher, but that he should be on the alert for rapid 
delivery of the ball from the pitcher in return. All 
such quick returns of the ball by the pitcher should in- 
variably be accompanied by balls over the base and at 
the height called for, or the play will lose its 
point. In playing this "out of form racket" on the 
batsman, it is essential to watch the batsman closely 
and to note when he becomes impatient in waiting 
for a specially desired ball, and temporarly takes a 
rest, as it were; then it is that he becomes open to 
this point of attack; for he is then "out of form" for 
making an effective hit. In sending in the ball when a 
batsman is thus caught out of form for good hitting, 
the pitcher must invariably send the ball in " over the 
base" and at the height called for, or his effort to 
catch the batsman napping will fail. It will be 



28 THE ART OF PITCHING. 

readily seen that marked command of the ball in 
delivery is very essential in playing this point. Of 
course the pitcher should watch the action of the 
batsman closely so as to be sure that he is not "playing 
possum" in pretending to be out of form when he 
is really wide awake to the attack, for this is a point 
for a skilful batsman to play on the pitcher. 

PLACING FIELDERS FOR SPECIAL HITS. 

Nearly every batsman has what he considers as his 
pet ball to hit at. In some cases it is a low ball, in 
others a high one; but whatever kind of ball it is, it 
is one which he has become accustomed to as a 
favorite ball to hit at, and it is a point for the pitcher 
to make to find out what it is, and when he does, to 
place his field to suit the special hit, and then to 
send in the pet ball for the batsman to hit at. The 
pitcher mnst first ascertain, however, that the pet 
ball is not one which yields a telling "grounder," but a 
ball which almost invariably goes from the bat high 
in the air to the outer field. The class of batsmen 
who are most frequently caught napping in this way 
are the hard-hitting or "slugging" class, who go in 
more for home runs than for scientific batting. In 
playing this point, too, the pitcher must be careful to 
have -his out-field judiciously placed, and to have re- 
liable judges of catches in position. 



THE ART OF PITCHING. 



29 



CHANGE OF PLACE IN DELIVERY. 

When the pitcher finds himself facing a skilful 
batsman, well up in strategic play in handling the 




ash, he will frequently find it advantageous to change 
the place of his delivery from the center of the "box" 
to the right or left of it. On a calculation of the 
swing of the bat meeting the ball at the home base, 
a center delivery would cause the ball to be returned 
almost direct to. the pitcher. Supposing, however, 
the delivery is from the extreme right of the "box," 
and the ball should meet the same swing of the bat, 
the return of the ball would be to the extreme left of 
the box. This is shown in the appended diagram. 
The dotted line shows the direction of the ball from 
the bat. 

Of course the position in which the batsman 
stands changes the line of return of the ball materially. 
But a point can be made from it by close study. 



30 THE ART OF PITCHING. 

To get at the philosophy of this point the pitcher 
will find it necessary to study the theory of properly 
timing the hit in batting, which he will find illus- 
trated by diagrams in the work on batting. It is sur- 
prising how much an intelligent pitcher will find to 
learn in studying up the philosophy of pitching and 
batting, that is if he desires to become a thorough 
expert, and not a mere " machine. 

PITCHING FOR CATCHES. 

It is frequently a good point for a pitcher to play 
to pitch for catches; that is, to send in good balls to 
the bat which will tempt the batsman to hit them 
high in the air, and then lay his whole field out for 
catches. Care,however, needs to be taken in playing 
this point, so as to be pretty certain that the pitching 
is faced by a poorer class of batsmen than ordinary. 
It won't do to try this dodge on first class batsmen, 
for it would be soon taken advantage of and at con- 
siderable cost of base hits and earned runs. The 
batsmen most likely to fall into a trap of this kind 
are those of the class of "sluggers" who go in for 
hard hitting and home runs at all costs. Those who 
wait for good balls and who are content with earning 
a single base by their hits, are not a safe class of bats- 
men to pitch to for catches. With the heavy hitting 
class, however, it is a pretty safe game to play, pro- 



THE ART OF PITCHING. 3I 

vided that the pitcher has a sufficiently extensive out 
field at command to admit of his men standing out far 
enough for the longest hit balls. In cases where the 
out field fence is too close to the diamond, and long 
hit balls are likely to go over the fence, pitching for 
catches will not pay. 

CHANGE OF PITCHERS. 

While the rules prohibit the substitution of a new 
player in the field for one already in the nine, — except 
'n the case of a player in the nine being so disabled 
while playing in the field, as to be unable to discharge 
the duties of his position — they admit of the Captain 
of the nine making such disposition of his field force as 
he deems advisable as to the placing of his men. 
But they require that nine men must constitute the 
field force, and no less number can legally be played 
in the field, and, of course, no greater number. It 
therefore follows, that the Captain of the nine can 
change his pitcher — that is, substitute another one of 
his nine players as pitcher in the place of the regular 
pitcher, — at his option. It is customary, as a 
point to play, to have a "change pitcher" in the nine, 
so that, in case the regular pitcher becomes "rattled," 
or is being badly "punished " by the batsman, a 
change of pitchers may be made with the view of 
keeping up the effectiveness of the attack. Of course 
as a point to be played, the change pitcher should be 
one who is different in his style of delivery, or in the 



32 THE ART OF PITCHING. 

method of his peculiar tactics, for therein Hes the ad- 
vantage of the change. If a skillful strategist in the 
position should find himself temporarily overpowered 
by a strong assault from the batting force, a change 
of pitchers which would substitute a swift machine 
pitcher, frequently proves advantageous. While, on 
the other hand, if the latter style of pitcher is the 
"regular" man in the position, and he is being pun- 
ished by the batsman, a change from the machine 
pitcher to the strategist comes into play with excel- 
lent effect. The point to be considered in changing 
pitchers, is, how to break up the feeling of confidence 
in hitting which the batting force benefits by when 
they are enabled to punish the pitching, and the 
change which will best do this is the change to be 
made. The reputation which a pitcher has in the fra- 
ternity, goes a great way in breaking up the confi- 
dence in hitting which batsmen suddenly attain in 
a match, for the batting force will frequently face 
a man comparatively unknown as a pitcher, with a 
degree of confidence which is not felt when they face 
a noted pitcher. And it sometimes happens, that an 
inferior pitcher will temporarily prove effective in the 
position in breaking up confidence in hitting, where 
a better pitcher will fail. All these points should be 
taken into consideration, not only when making a 
change of pitchers, but also, when placing a change 
pitcher in the nine to be used in case of need. 



THE ART OF PITCHING. 33 

THROWING TO BASES. 

A point of play, peculiar to old time pitchers, was 
that of throwing to bases to catch a base-runner nap- 
ping off the base. Experience, however, has so 
plainly shown that throwing to bases should be 
exceptional and not general, that it has gone out of 
use to a considerable extent. Of course it will not do 
for a pitcher to neglect throwing to bases; but it 
should only be done when he is very proficient in it, 
and never except by signal from the catcher. Under 
the existing rule applicable to balking, throwing to 
base by the pitcher has to be done very carefully, in- 
deed, as regards the movement in throwing, in order 
to avoid the penalty for balking. The pitcher, in fact, 
can only safely throw to a base, while standing in the 
box, before he has made any single one ot the move- 
ments he Is accustomed to make preliminary to his 
delivery of the ball to the bat. Accurate throwing 
to a base from the pitcher's position Is difiicult of at- 
tainment. As regards throwing to first base, that is 
the easiest base to throw to, and third base the most 
difficult. Taking the average result of throwing to 
bases, reliable data shows that it is five to one In favor 
of the base-runner. The rule Is to watch the bases 
closely, and make a frequent show of throwing, but 
only let the ball go when a throw will be almost sure 
to tell. It was easier to throw to bases under the 
League rules of 1885 than under those of the Ameri- 
can code, as a careful reading of the rule applicable to 
3 



34 



THE ART OF PITCHING. 



a balk in the new codes, and of the rule governing 
the taking of a position in the ''box" to deliver the 
ball, v^ill fully show. 

A CATCHER'S ASSISTANCE. 

Pitchers should bear in mind the important fact 
that, no matter how skillful they may be in the deliv- 
ery of the ball to the bat, they must be largely de- 
pendent for success upon the character of the assist- 
ance rendered them by their catcher. It is especially 
a matter of the first importance to a strategic pitcher 
that he should have a first-rate man behind the bat to 
second him in all his little points of play. For this 
reason is it that pitchers and catchers should always 
work together in pairs. They should be familiar 
with each other's ^^eculiar methods of playing their 
respective positions. A first-rate catcher for one 
pitcher might be almost useless for another, as far as 
helping the pitcher in strategic play is concerned. 
Each should fully understand the other's signals in a 
match — the catcher those of the pitcher, so as to be 
able to be prepared for a sudden change of pace; and 
the pitcher those of the catcher, so as to know when 
the latter wants his joartner to pitch for throwing to 
bases; for it is almost impossible for a catcher to do 
his best in throwing to bases unless the pitcher sends 
him in balls especially for that purpose. A pitcher 
must largely depend upon his catcher in playing the 
point of catching a batsman " out of form," for unless 
the catcher is quick in returning the ball to the 



THE ART OI PITCHING. 35 

pitcher the chance to play the point is lost. Then, 
too, the catcher can materially aid the pitcher when 
the former happens to know the peculiar style of his 
batting opponent and the latter does not, by signaling 
to him what kind of ball to send in. 

BASE RUNNER'S DODGES. 

Of course the pitcher will not be allowed to mo- 
nopolize all the dodges and tricks of the game in 
playing points upon his adversaries in the diamond 
field; and among the latter who will avail themselves 
of artifices to bother and confuse the pitcher in his 
work, are the base runners; and the pitcher, when 
antagonized by wily base runners, must learn to 
•school himself to a condition of apparent indifference 
to the working of their little "racket." One. of the 
most trying positions a pitcher has to encounter in a 
contest is that which occurs when a runner has se- 
cured third base before a single man of the batting 
side has been put out. This position of things is ag- 
gravated when, at the same time, there is another 
runner occupying first base and endeavoring to engage 
the pitcher's exclusive attention in order to enable his 
companion runner at third base to get home and 
score his run. This is a situation which tries the 
nerve of a pitcher, and he never displays his skill in 
pitching more prominently than when he manages 
to keep the runner on third until the side is put out, 
and his base running adversary at third base thereby 
gets left. In fact, this is a pretty good test of a 



36 THE ART OF PITCHING. 

pitcher's talent as an able strategist. No mere machine 
pitcher can accomplish this feat; it requires a man 
well versed in " headwork" pitching to do it. 

CONTROL OF TEMPER IN PITCHING. 

There are certain games in which thorough con- 
trol of temper is as necessary to success as special skill 
in any department of the game, and this is an import- 
ant essential in base ball. And in no position in the 
diamond field is it more requisite than in that of the 
occupant of the pitcher's " box." The pitcher who 
cannot control his temper is as unfit for his position 
as is a quick-tempered billiard player to excel as a 
winner in professional contests. Quick temper is the 
mortal foe of cool judgment, and it plays the mischief 
with that nervy condition so necessary in the develop- 
ment of skillful strategy. The pitcher must of neces- 
sity be subject to annoyances well calculated to try 
a man's temper; especially when his best eflforts in 
pitching are rendered useless by the blunders of 
incompetent fielders, or he finds himself at the mercy 
of a prejudiced umpire. But under such trying cir- 
cumstances his triumph is all the greater if he can 
pluck victory out of the fire of such opposition. 

PITCHING AGAINST THE UMPIRE. 

The experience of pitchers has taught them that, 
as a general rule, Umpires are but fallible beings, and 
that their errors of judgment frequently militate 



THE ART OF PITCHINC. 37 

greatly against the success of a pitcher who avails 
himself of his skill as a strategist in the position. It 
frequently, therefore, becomes a point to play on the 
part of a pitcher to "pitch for the Umpire" in a match 
as well as against the batsman; and by this nothing 
is meant in the way of making that important official 
the pitcher's adversary, but, on the contrary, to work 
on him in such a manner as to gain his good will to 
the extent of inducing him to decide in favor of the 
pitcher rather than the batsman when there is a doubt 
in the matter of rendering a decision. 

For instance, when the pitcher sees that the Um- 
pire is more concerned about avoiding being hit by 
the ball, rather than about the accuracy of his rulings 
in calling "balls" and "strikes," he should avoid, as 
much as possible, sending in balls which are neither 
directly over the base nor yet so clearly not over 
as to leave a doubt as to the line of their delivery; 
because under such circumstances all such doubtful 
balls are apt to be more frequently called against the 
pitcher than in his favor. Nervy and plucky Um- 
pires who can coolly use their keenest judgment when 
facing the hot fire of a swift delivery, are sadly In the 
minority ; and when a pitcher finds himself in the 
hands of an official who is apt to be disconcerted at 
times, he must suit his pitching to the exigencies of 
the case, and, to a certain extent, pitch for the Umpire, 
and not so as to annoy or intimidate him. Moreover, 
it is the height of folly on the part of a pitcher to 
work against the Umpire by repeated appeals for 



38 tHE ART OP PITCHING. 

judgment on strikes, as it is simply a tacit questioning 
either of his judgment or his impartiahty. Tlie pitcher 
should, by word as well as action, give the Umpire 
to understand that he has implicit faith in his impar- 
tiality, and relies fully on the soundness of his judg- 
ment, and if he can make just such a favorable 
impression on the' Umpire as this apparent faith in 
his ability leads to, the calling of balls will not be as 
frequent as called strikes. A pitcher who, by word 
or action, incurs the prejudice of an Umpire in a 
match, is simply working against his own interests. 
To play points against the Umpire is simply to out- 
wit his judgment, and to avoid giving him any cause 
for irritation or ill will. 

BALKING. 

The new rules governing balks are so worded as 
to render it difficult for a pitcher to escape making a 
balk in throwing to bases, unless he makes his throw 
to the base before preparing to deliver the ball. A 
pitcher makes a balk under the new rules if he makes 
any one motion of the series he is accustomed to 
make in delivering the ball to the bat. For instance, 
if he stands with his left leg bent at the knee ready 
for the preliminary step, and then moves to throw to 
a base he necessarily commits a balk, as he makes 
one of the motions of his feet the same as in deliver- 
ing the ball to the bat. Therefore, in order to throw 
to a base he must stand with both feet on the ground, 
just the same as he does when throwing to a base 



THE ART OF PITCHING. 39 

after fielding a ball from the bat. The most effective 
way of throwing to bases is to stand up straight and 
ready to throw to first base while looking at the 
catcher and awaiting the latter's signal. 




The preceding cut illustrates this preparatory 
position. 



40 THE ART OF PITCHING. 

THE MOTIONS IN DELIVERING. 

The fewer motions a pitcher has in deUvery the 
less time the batsman has for judging the character 
of the ball ; besides which the base runner from first 
base to second is afforded less opportunity for suc- 
cessfully running his base when the pitcher has 
but few preliminary motions in pitching to the bat. 
Under the rule of 1886, with the forward step al- 
lowed, he can make almost any number he chooses; 
and as each motion counts as one of the preliminary 
movements referred to by the rule, it follows that the 
greater the number of motions the better the chances 
are for successful base running. 

Some pitchers have twice the number of motions in 
delivery when there are no runners on the bases to 
the number they have when one or more of the bases 
is occupied. The best plan, however, is to accus- 
tom yourself to a regular method of delivery involv- 
ing the fewest motions possible. As a general rule a 
number of preliminary motions in delivery, especially 
those of an eccentric character — like the jumping 
business of Mr. Jones, formerly of the Yale nine — fail 
to trouble any but a very poor batsman. In fact they 
only serve to make him more on the alert in watch- 
ing the ball than he otherwise would be. 

STRATEGY IN PITCHING. 

" What is strategy in base ball pitching?" is a per- 
tinent question. The reply is, that it is a resort to 
legitimate artifice to deceive the judgment of the bats- 



THE ART OF PITCHING. 4I 

man. The prlmaiy elements of successful strategic 
play in pitching may be summed up inbrlef as follows : 
First, to deceive the eye of the batsman in regard to 
the character of the delivery of the ball, as to its 
being fast or slow. Second, to deceive his judg- 
ment in reference to the direction of the ball when 
pitched to him, as to its being high or low, or where 
he wants it. Third, to watch the batsman closely 
so as to know just when he is temporarily "out of 
form" for making a good hit; and Fourth, to tempt 
him with a ball which will be likely to go high from 
his bat to the outfield and be caught. 

The moment a strategic pitcher faces a batting 
opponent he begins to study up the peculiar style of 
handling his bat, with a view to discovering his weak 
points in batting. He observes how he holds his bat 
to begin with, and if he finds that it is not held so 
as to be well poised over his shoulder, ready for an 
effective forward swing to meet the ball, he counts it 
a point in his favor. The same, too, if the batsman 
holds his bat out in front of him, drawing it back as 
he prepares to meet the ball. Then the pitcher 
watches the character of the batsman's stroke, so as 
to note whether he swings his bat forward with a 
sharp, quick wrist stroke, or in the "slugging" style of 
hitting at the ball from the shoulder. The former 
style of stroke is likely to be effective against a 
swiftly pitched ball, w^hile the latter generally fails 
unless designed to meet a comparatively slow ball. 
Another strong point in strategic pitching is catch- 



42 THE ART OF PITCHING. 

ing a batsman "out of form." In fact, the pitcher 
should deliver the ball at the very outset with the 
view of getting his man out of form, and this he 
can generally do by sending in what may be termed 
"aggravating balls," that is, balls near enough within 
reach to make the batsmen want to hit at. them, and 
yet too far away for effective hitting. A ball close 
in, followed by a wild pitched ball, keeps the bats- 
man's nerves in tension ; and this, with his constant 
expectancy of a good ball, and his disappomtment at 
not getting one, causes him to become impatient, and 
then he temporarily gets out of his position of 
readiness to hit, and just then is the pitcher's op- 
portunity for a quickly delivered ball over the base 
and at the height called for, and if this is "done well 
when it is done" a called strike, or a poorly hit ball, 
is almost an invariable result. The catcher's assis- 
tance is needed in playing this point, for unless the 
catcher returns the ball to the pitcher quickly and 
accurately, the latter cannot avail himself of the 
chance to catch the batsman napping. The pitcher 
should consider the batsman as one open to a suc- 
cessful attack whenever the latter relaxes his sharp 
watching of the delivery of the ball, or fails to be in 
perfect readiness to meet it. 

Another very effective point in strategic pitching 
is a thoroughly disguised change of pace in delivery. 
This is difficult of attainment, and as a general rule it 
can only be played with effect on the careless class 
of batsmen. It is absolutely requisite that the dis- 



THE ART OF PITCHING. 43 

guise of the delivery should be complete, or other- 
wise the batsman will have time to prepare himself 
for the change of pace. The change from a very 
swiftly pitched ball to a medium pace or slow ball 
should largely depend upon the condition of prepara- 
tion the batsman is in to meet the ball. If he is seen 
to be ready to make a quick wrist play stroke, then 
a swift ball over the plate would not be timely. 
Or if he is a "slugger" and is ready to hit from the 
shoulder, a slow ball would be just what would suit 
him. It is extremely bothering to the general class 
of batsmen to have a swiftly pitched ball flash by 
him when he is looking for a comparatively slow ball; 
and, vice versa^ a slow ball proves troublesome when 
the actions of the pitcher lead the batsman to expect 
a fast ball. 

It is a point of strategic play in pitching to avoid 
sending in a ball which is over the base and at the 
height called for, as long as it can safely be done. 
When the Umpire indicates the height of the ball re- 
quired, the pitcher should send it in at once at the 
height required, but not over " the plate." When he 
does send it over the plate it should not be at the 
height called for. The point is, to keep the ball close 
to the limits but not within the legal range, except 
when it becomes too costly not to do so, and that is 
when four or five balls have been called. If a bats- 
man takes his stand in a leisurely kind of manner, as 
if he was going to get ready to hit just when it 
suited him and no sooner, it is safe to send the ball in 



44 



THE ART OF PITCHING. 



right over the plate at the outset, and very near the 
height indicated. But if the batsman is one who 
gets right into form for hitting the moment he takes 
his stand, it is better to keep the ball wide of the 
straight mark, even to the extent of having three or 
four balls called, as then- there is a chance of tiring 
him out so as to break up his good form for hitting. 
It is the part of a skillful strategist in pitching, 
never to let his batting opponent see that he is 
"rattled " by "punishment," and this term "punish, 
ment," by the way, does not mean base hits made 
from his pitching without regard to the runs the}' 
may yield being earned or not, but only base hits 
scored before three distinct chances for outs off the 
pitching have been afforded the fielders and have not 
been accepted. A pitcher is only "punished" in the 
technical application of the term, when runs are 
really earned off his pitching. Suppose the pitcher 
sends in a ball which the batsinan hits in the air and 
which affords an easy chance for a catch, but through 
bad play the chance is not accepted. And suppose 
that the next batsman taking his stand has three 
strikes called on him, and on the third strike the 
catcher fails both to catch the ball, or to throw the 
runner out at first base. And then suppose that the 
third batsman hits a short ball toward third base, and 
the ball is thrown too low or too high for the first 
baseman to hold it in time, and the third chance for 
an out is lost, and then base hit after base hit be 
made. Such hits cannot justly be charged as punish- 



THE ART OF PITCHING. 45 

ing the pitcher, as, but for poor fielding, the side 
would have been out without a run having been 
made or a single base hit scored. Where failures of 
this kind occur, they should not be allowed to discon«- 
cert the ^^itcher, nor cause him to be "rattled," as 
they do not in the least militate against the effective 
character of his work. But when base hits are made 
and runs are scored before three plain chances have 
been afforded the fielders for outs, then it is proper 
to charge the pitcher with punishment. Even then 
it is his point to play to control his chagrin at the un- 
toward result, and to endeavor to make up for the 
punishment by improved play in his position. This 
liowever, can only be done through thorough control 
of temper, aided by plucky, nervy, up-hill work in 
recovering the lost ground. 

The rule of success in strategic pitching is never to 
send in a ball to suit the batsman unless you are 
obliged by the circumstances of the case to do so. 
The strategist learns how to pretend to do this with- 
out actually doing it, and therein lies his art as a 
strategist. 

BATTERY WORK. 

The pitcher and catcher in base ball are technically 
called the "battery," and this team of two players 
are the main reliance of the attacking force in a con- 
test. An effective pitcher is a tower of strength in 
himself, and a good catcher is almost equally as valu- 
able, but unless they work together as a "team" they 



46 THE ART OF PITCHING. 

divide their strength and weaken their power in 
proportion. Pitchers and catchers should always work 
together in pairs. They should be familiar with each 
other's peculiar methods of playing their respective 
positions. A suitable catcher for one pitcher, might 
be comparatively useless for another as far as helping 
the pitcher in strategic play is concerned. Each 
should fully understand the other's signals in a match 
— the catcher those of the pitcher, so as to be able to 
be prepared for a sudden change of pace, and the 
pitcher those of the catcher, so as to know when the 
latter wants his partner to pitch for throwing to 
bases; for the pitcher should know that it is impos- 
sible for a catcher to do his best in throwing to bases, 
unless the pitcher sends him in balls especially for 
that purpose. 

An essential point in the formation of an effective 
"battery," is to pair the two men well together. 
Two mere "machine" players in the positions — that 
is, pitchers or catchers who never use "headwork" in 
their play — will never work well together, nor will 
two strategists together fully develop the full 
strength of a " battery," as the former pair will only 
do mere mechanical work, and the latter are too likely 
to conflict in particular ideas as to which are the most 
effective points to play. 

PITCHING BY SIGNALS. 

The pitcher and catcher should have a code of 
signals between them, and thev should practice these 



THE ART OF PITCHING. 47 

signs until they can read them as easily as their 
letters. Thus, when the catcher sees an opportunity 
for the pitcher to catch a base player napping off his 
base, a certain signal should be given by which the 
pitcher may understand that he is to throw to the 
base promptly. Again, if the pitcher is familiar with 
a certain habit of the batsman before him of hitting 
at a favorite ball, he should give the catcher a sign 
informing him that he is going to send in a slower or 
swifter ball or a higher or lower one than ordinarily 
is pitched. 

Suppose, for instance, that the striker, who has 
either been put out, or has made his base, was one to 
whom swift balls had been sent, and that his successor 
is one whom slow balls bother, the pitcher gives a 
sign to the catcher — one, of course, that cannot &e 
observed by his opjDonents — to come up closer to the 
bat, thereby informing the catcher that he is going to 
drop his pace in delivery; the batsman, not being 
aware of the proposed change, prepares himself to 
meet the same class of balls which were pitched to 
the batsman preceding him, and the result is, that 
the change of pace leads him to strike too quick at 
the ball. Of course, if this change had been indicated 
to the batsman by the call of the pitcher to the 
catcher to stand up close behind for the change of 
pace, the batsman would have been placed upon his 
guard, and thereby would be prepared for the change; 
but this exposure of the design of the pitcher is 
prevented by the private signal, and the judicious 



^8 THE ART OF PITCHING. 

manner in which the change is carried out. Just so, 
too, is it when a change from slow to swift deUvery 
is made, a private signal intimating to the catcher to 
get back for swift balls. The catcher, too, should 
have a similar understanding with the out-fielders 
who should watch him closely when a new batsman 
takes his stand at the home base — so that when any 
change of delivery by the pitcher is made, the catcher 
by a certain signal can either send the out-fielders 
further out or closer in, according as the chances of 
a long high ball or a short one from the batsman 
are most probable. This strategical style of play is 
a great aid to success in all cases, but especially 
against inexperienced players, who do not perceive 
the "nice little game" that is being played upon them. 

THE pitchers' AVERAGES. 

The only criterion of eflfectlve pitching is the record 
of earned runs scored off the pitching. It should be 
remembered, in this connection, that there is quite a 
difference between runs earned off the pitching and 
runs earned off the fielding. If the first, second, and 
third strikers at the bat each make a base hit, and 
the fourth striker hits the ball so as to oblige the 
fielder to throw him out at first base, one run being 
scored off the hitting alone, then one run is clean 
earned oflf the pitching. But if the first striker makes 
a single base hit, steals to second, is given his third 
on another base hit, and goes home by a steal in on a 
throw to second to cut off the runner from first, then 



THE ART OF PITCHING. 49 

a run is earned off the fielding, inasmuch as from 
the base hits made alone two men would have been 
on bases, and no run scored. It is necessary, there- 
fore, for a correct record of earned runs off the 
pitching-, that scorers should see to it that a proper 
distinction should be made between runs distinctly 
earned off the pitching and those earned off the 
fielding. Of course, direct fielding errors are not to 
be included in runs earned off the fielding, but only 
runs earned by effective base-running, as no runs can 
be earned at all from fieldinsr errors. 



THE ART OF PITCHING. 




SWIFT DROP BALL. 

With the ball held well in the palm of the hand in the same 
manner as for the out-shoot or rising ball, this delivery is exe- 
cuted by allowing the fingers to turn under the ball as it is re- 
leased from the hand, letting it roll off the ends of the fingers. 
The movement of the arm whether above or below the shoul- 
der, should be as nearly as possible perpendicular. 



THE ART OF PITCHING. 5I 



THE PITCHING OF 1885. 

The pitching of 1885, under the rules which pre- 
vailed after the early months of the season, was such 
as to make successful batting more of chance hitting 
than ever before,- the pitchers — the fast over-hand 
throwers from the "box" — literally having things 
their own way, one result being the fact that the 
monotonous and uninteresting "pitcher's games" pre- 
vailed to a greater extent than previously known in 
the history of the game, as the season's records show; 
there being no less than twenty-eight games occur- 
ring during 1885, in which the batting side was 
retired in nine successive innings without a single base 
hit being credited to them. This "pretty state of 
things" is likely to continue just so long as the pitcher 
is allowed to deliver twice as many unfair balls to 
the bat as the batsman is permitted to allow fair balls 
to pass, him without striking at them. In other 
words the pitcher, under the existing rules, is allowed 
just double the advantage in attacking work from the 
"box," that the batsman has in defense from the home 
base. 

PITCHING AVERAGES. 

The following are the best League fielding aver- 
ages of 1885, of players who took part in twenty 



52 



THE ART OF PJTCHING. 



championship games and over during the season. 
The averages are those of " games," the percentage 
figures are those of "times to bat." 



PITCHERS. 



Welch . . . 
Keefe . . . 
Daily ... 
Shaw, ... 
Clarkson . 
Radboui-n 
Ferguson . 
Buffinton , 
Boyle . . . , 
Getzein. . . 
Whitney. , 
Galvin . . . 



CLUBS. 



New York. . 
New York . . 
Philadelphia 
Providence . 

Chicago 

Providence . 
Philadelphia, 

Boston 

St. Louis . . . 
Detroit . . . . 

Boston 

Buffalo 









n 








bD"" 


• 


c3-t3 


f. 


SS 




<^ 


55 


0-92 


45 


1-04 


49 


I 33 


47 


1-36 


69 


1-46 


49 


1-53 


45 


1-80 


50 


1-92 


39 


1-97 


37 


2-02 


50 


2-56 


32 


2-96 



^ V 

<U 7i 
OmW 

.199 
.197 
.218 
.215 
.20S 
•239 
•215 
•254 
.221 
.263 

•27' 
.291 



McCormick of Chicago played in but 38 games, 
including those of the Providence club, but the aver- 
age of earned runs off his pitching was but 1-57. 
Corcoran pitched in only ten games in both Chicago 
and New York, with an earned run average of 1-30. 
Baldwin, of Detroit, pitched in 19 games for an aver- 
age of earned runs of only 1-05. 

The following are the best pitching averages of 
the Eastern League season, as well as can be made 
out from the inaccurate record kept. Those only 
who pitched in twenty games and over are given 
below. 



THE ART OF PITCHING. 



53 



EASTERN LEAGUE. 



PITCHERS. 



Smith, F.. 

Barr 

Mattinson 

Pyle 

Kimber. . . 
Tier nan . . 
Heckman . 
Henny . . . 
Gagur .. . . 
Wetzel 



CLUBS. 



Newark . . . 
National . . . 
Jersey City 
Virginia . . . 
Virginia . . . 
Trenton . . . 
Newark . . . 
Norfolk.... 
National .. . 
Lancaster, . 





tn 




^O § 






«5 


ri 






O 


<iA 


20 


0-80 


24 


0-91 


36 


1-02 


.'54 


1-21 


39 


1-25 


40 


1-5 1 


24 


1-70 


28 


1-7 1 


23 


1-82 


29 


1-89 



.144 
.163 
.194 
.214 
.223 
.231 

.204 

• 233 

.227 
.256 



All the others who played in over 30 games aver- 
aged over two earned runs off their pitching to each 
game. 

The following are the averages of the pitchers of 
the American Association who pitched in thirty 
games and over of the championship series. 



PITCHERS. 



Caruthers . 
Morris . . . 
Hecker ., . 
Matthews. 
Porter, . . . 
Fauts .... 
Harkins . , 
White.,.. 
McKean.. 
Henderson 
Lynde. , . . 
Cushman . 



St, Louis . , . 
Pittsburg , . . 
Louisville . . 

Athletic 

Brooklyn , . . 
St. Louis.. . . 
Brooklyn , , . 
Cincinnati , , 

Baltimore . . 
Metropolitan 









uj G 




3 




oC« 


• 


bJ-.'C 


0) 




E 


^£ 




> rt 





<W 


53 


.0416 


63 


.0435 


54 


.0528 


46 


.0545 


54 


■0554 


46 


.0573 


34 


.oc;86 


35 


,0600 




,0601 


61 


,0603 


43 


.0703 


33 


.0731 



^ <u 
V a 
Cupq 

.211 

.224 

.235 
• 234 
.236 

•255 
,252 
,244 
,258 

,269 

.238 



54 



THE ART OF PITCHING. 



SOUTHERN LEAGUE. 

The following are the pitching averages of players 
who took part in thirty championship games and 
over in the Southern League in 18S5. The figures 
are the per cent, of earned runs to "time at bat' 
earned off the pitching, as also the per cent, of base 
hits off the pitching, with the average of struck oul 
per game. 



PITCHERS. 



Voss . . . 
Hoftard. 
Kilray., 
Clark . . 
Ramsey 
Veachf. 
Hart . . . 
Bauer . . 
Dundon 
Masran , 



CLUBS. 



Nashville. . . 
Augusta .. . . 
Augusta .. . . 
Columbus . . 
Chattanooga 
Macon . , , . 
Chattanooga 
Atlanta . , . . 

Atlanta 

Memphis . . . 





. 




0^ 




*: *- 


• 


Ct3 






c 


u C 


CJ 


4) rt 





fcW 


4.S 


.270 


SI 


.286 


50 


.289 


42 


•307 


41 


•329 


31 


.332 


39 


.390 


31 


•371 


36 


.409 


31 


.411 






iSs 
i65 



• 19/ 

. i6t 

.17^ 
.22^ 

.20] 
,20: 
.21: 



THE ART OF PITCHING. 55 




TECHNICAL TERMS IN PITCHING. 

Our national game now has its regular technical 
phraseology, and below we give a dictionary of the 
terms used in the game. 

Assistance on Strikes in Pitching. — The 
pitcher is credited with an assistance on strikes when- 
ever the batsman strikes out, the record going to the 
summary. 

A Balk A balk is made when the pitcher either 

steps outside the lines of his position when making 
any of the preliminary movements in delivering the 
ball to the bat, or fails to deliver it- after making one 
or other of such movements. 

A Bowled Ball. — If a ball be bowled along the 
ground to the bat, the umpire is required to call a ball. 

Box. — The "box" is the technical term used to 
indicate the pitcher's position. 

Battery. — This term is applied to the pitcher 
and catcher as a team working together as a pair. 



56 THE ART OF PITCHING. 

Battery Errors. — These are errors of th< 
pitcher and catcher, such as wild pitches; called halls 
pitched balls hitting the batsman, and passed balls 01 
which bases are run. 

Block. — A block ball is a ball stopped by out 
siders in a match when hit from the bat, or throwi 
to a base after being hit. 

Change of Pace. — This point of play — viz 
changing the pace of the delivery from swift t( 
medium — is very effective when the change is thor 
oughly disguised, but not otherwise. 

Called Balls. — A called ball is the penalty in 
flicted on the pitcher for sending a ball to the bat 
either not over the home base or not at the height in 
dicated by the batsman. 

Chances. — A "chance" in base ball means an op 
portunity aiforded off the pitching for the fielders t( 
put a player out. A pitcher is never "punished" s( 
long as his pitching affords chances for three out 
before a run is scored, no matter how many runs th< 
opposing side may score after the three chances hav( 
been given. 

Curve. — This refers to the horizontal curving o 
the ball on its way to the bat. 

Dropping the Pace. — This term is applied wher 
the pitcher lessens the speed of his delivery, and sub 
stitutes a medium-paced ball for a swift one. It is 
very effective in some cases. 



THE ART OF PITCHING. 57 

Drop Ball. — A ball which, on the line of its deliv- 
ery to the bat, drops downward as it approaches the 
home base. 

Dead Ball is a ball delivered to the bat by the 
pitcher, that touches the batsman's bat, without being 
struck at, or any part of the batsman's person while 
standing in his position, without being struck at, or 
any part of the umpire's person, without first passing 
the catcher. 

' Fair Ball is a ball delivered by the pitcher while 
wholly within the lines of his position, and while fac- 
ing the batsman. The ball, so delivered, to pass over 
any part of the home base, and at the height called 
for by the batsman. 

Headwork. — This term is applied to a pitcher who 
uses his judgment in his work, and brings mental 
power into play to aid his physical ability. 

High Ball is a ball legally delivered by the 
pitcher over the home base, higher than the belt of 
the batsman, but not higher than his shoulder. 

In Curve. — A ball which, in the line of its deliv- 
ery to the bat, curves in toward the batsman's posi- 
tion. 

Jerk. — An old form of delivery of the ball to the 
bat which was at one time prohibited. It is made by 
touching one side of the body with the elbow as the 
ball is swung forward on delivery. 

Low Ball is a ball legally delivered by the pitcher, 



^8 THE ART OF PITCHING. 

over the home base, not higher than the batsman's 
belt, nor lower than his knee. 

Out of Form. — When a pitcher sees a batsman 
standing carelessly at the bat and unprepared for the 
ball, a quick delivery w^ill catch him "out of form,'' 
and get a strike called or a poor hit from his failure 
to be ready to strike properly. 

Out Curve. — A ball which curves out from the 
batsman's position as it passes the home base. 

Pitcher's Points. — These are the four iror 
quoits laid down on the four corners of the pitcher's 
position. 

Punishing the Pitcher. — The pitcher is "pun 
ished" when the balls he pitches to the bat are easily 
hit to the field in such a manner as to prevent then 
from being fielded in time to put either the batsman o 
base-runners out. No pitcher is "punished" simpb 
because runs are easily scored by his opponent 
through errors, but only when bases are earned b^ 
clean hits oflf his pitching before three chances for ou 
are offered oflf the pitching. 

Pace. — This Is the technical term applied to th^ 
degree of speed with which the ball is pitched to th 
bat. There are three degrees of jDace, viz., Swift 
medium and slow. 

Rising Ball. — A ball which rises on the line c 
its delivery to the bat. 

Unfair Ball is a ball delivered by the pitche 



THE ART OF PITCHING. 59 

that does not pass over any part of the home base, or 
does not pass over the home base at the height called 
for by the batsman 

AViDE Pitch. — This term is applied to a ball 
which is pitched over the catcher's head out of his 
reach, or so wide of his position, on one side or the 
other, as to be just as much out of reach as in the first 
instance. 

THE NEW PITCHING RULES. 

The rules for 1886 applicable to the pitcher's posi- 
tion are as follows : 

Rule 5. The Pitcher's Lines must be straight 
lines forming the boundaries of a space of ground, 
in the infield, seven feet long by four feet wide, dis- 
tant fifty feet from the center of the Home Base, and 
so placed that the six feet lines would each be two 
feet distant from and parallel with a straight line 
passing through the center of the Home and Second 
Bases. Each corner of this space must be marked 
by a flat iron plate or stone, six inches square, fixed 
in the ground, even with the surface. 

DEFINITIONS. 

Rule 24. A High Ball is a ball legally deliv- 
ered by the Pitcher, over the Home Base, higher 
than the belt of the Batsman, but not higher than 
his shoulder. 

Rule 25. A Low Ball is a ball legally delivered 



6o THE ART OF PITCHING. 

by the Pitcher, over the Home Base, not higher than 
the Batsman's belt, nor lower than his knee. 

Rule 26. A High or Low Ball is a ball legally 
delivered by the Pitcher, over the Home Base, not 
higher than the Batsman's shoulder, nor low^er than 
his knee. • 

Rule 27. A Fair Ball is a ball delivered by the 
Pitcher w^hile standing wholly within the lines of his 
position, and facing the batsman, the ball, so deliv- 
ered, to pass over the home base, and at the height 
called for by the batsman. 

Rule 28. A7i Unfair Ball is a ball delivered by 
the Pitcher as in Rule 27, except that the ball does 
not pass over the Home Base, or does not pass over 
the Home Base at the height called for by the Bats- 
man. 

Rule 29. A Balk is 

( I ) If the Pitcher, when about to deliver the ball 
to the bat, while standing within the lines of his 
position, make any one of the series of motions he 
habitually makes in so delivering the ball to the bat, 
without delivering it. 

(2) If the ball be held by the Pitcher so long as 
to delay the game unnecessarily ; or 

(3) If delivered to the bat by the Pitcher when 
any part of his person is upon ground outside the 
lines of his position. 

Rule 30. A Dead Ball is a ball delivered to the 



THE ART OF PITCHING. 6l 

bat by the Pitcher, that touches the Batsman's bat, 
without being struck at, or any part of the Batsman's 
person while standing in his position, without being 
struck at, or any part of the Umpire's person, with- 
out first passing the Catcher. 

Rule 31. A Block is a batted or thrown ball that 
is stopped or handled by any person not engaged in 
the game. 

Rule 32. A Fair Hit is a ball batted by the 
Batsman, standing in his position, that first touches 
the ground, the First Base, the Third Base, the part 
of the person of a player, or any other object that is 
in front of or on either of the Foul Lines, or (excep- 
tio7t) batted directly to the ground by the Batsman, 
standing in his position, that (whether it first touches 
Foul or Fair Ground) bounds or rolls within the Foul 
Lines, between Home and First, or Home and Third 
Bases, without first touching the person of a player. 

Rule 33. A Foul Hit is a ball batted by the 
Batsman, standing in his position, that first touches 
the ground, the part of the person of a player, or 
any other object that is behind either of the Foul 
Lines, or that strikes the person of such Batsman, 
while standing in his position, or (exception) batted 
directly to the ground by the Batsman, standing in 
his position, that (whether it first touches Foul or 
Fair Ground) bounds or rolls outside the Foul Lines, 
between Home and First, or Home and Third Bases, 
without first touching the person of a player. 



62 THE ART OF PITCHING. 

Rule 34. When a batted ball passes outside the 
grounds, the Umph"e shall decide it fair should it dis- 
appear within, or foul should it disappear outside of 
the range of the Foul Lines, and Rules 32 and 33 are 
to be construed accordingly. 

Rule 35. A Strike is 

( 1 ) A ball struck at by the Batsman without its 
touching his bat; or 

(2) A ball legally delivered by the Pitcher at the 
height called for by the Batsman, and over the Home 
Base, but not struck at by the Batsman. 

Rule 36. A Foul Stt-ike is a ball batted by the 
Batsman when any part of his person is upon ground 
outside the lines of the Batsman's position. 

Rule 59. In case of a Foul St?'ike^ Foul Hit 
7iot legally caught Jiying^ Dead Ball^ or Base Run- 
ner fut out for being struck by a fair -hit ball^ the 
ball shall not be considered in play until it is held by 
the Pitcher standing in his position. 

Rule 62. If the Pitcher causes the ball to 
strike the Batsman^ and the Umpire be satisfied 
that he does it intentionally, he shall fine the Pitcher 
therefor in a sum not less than Ten Dollars, nor 
more than Fifty Dollars. (See League Contract, 
paragraph 11.) 



THE ART OF FIELDING. 



Skillful fielding Is by all odds the most attractive 
feature of the national game. It is something all 
can appreciate and understand. While scientific bat- 
ting is only appreciable by those who fully under- 
stand the difficulties attendant upon it, fine play in 
the field can be enjoyed by every spectator, its beauties 
being as plainl}^ apparent as is the characteristic blun- 
dering in the field of a mere novice in the art. In 
batting, however, while the great majority fully enjoy 
the dashing, splurgy, long-hit ball which yields a 
home run, it is only the minority who have sufficient 
knowledge of the "points" in the game to. appreciate 
the scientific work of "facing for position," "timing 
the swing of the bat," "observing good form," and 
other like points in team-work at the bat. But in 
fielding, every one in the general crowd of spectators 
knows when a fine "pick-up" of a hot grounder is 
made; or when a hot "liner" is handsomely caught 
on the fly; or a short high ball is held after a long 
run in for it from the outer field ; or when an appar- 
ently safe hit to right field is changed into an out at 
first base by the active fielding and quick accurate 
throwing in of the ball to the first baseman by the 
(64) 



THE ART OF FIELDING. 65 

right-fielder. Then, too, the briUiant catching of the 
swift curved line balls from the pitcher by the catcher, 
and the splendid throwing of the latter to the bases ; 
all these features of sharp and skillful fielding are 
evidences of good work which the veriest novice in 
the crowd can understand and appreciate. ' Hence it 
is that fielding is at once the most brilliant and at- 
tractive feature of base-ball. 

There is no department of the game, however, 
which requires more attention in the way of training 
to excel in it, than fielding does. A good fielder must 
be lithe of limb and with every muscle trained for 
active w^ork in jumping, running, stooping, throwing, 
and, in fact, in every muscular movement which good 
practice in a gymnasium develops to advantage. In 
other words, a first-class fielder in base-ball must be 
a well-trained athlete. In no other field game of 
ball is fielding skill so essential to success as in the 
game of base-ball. In cricket a player may be valu- 
able both as a bowler and batsman, and yet be but 
an indiflferent fielder. In lacrosse, if the player is a 
swift sprint-runner his ability in other departments 
is regarded as of secondary importance; while, in 
football, daring pluck and wrestling powers are the 
most important elements in giving him- the suprem- 
acy in the game. But in base ball, if the player fails 
to excel as a fielder his value as a member of the 
team depreciates fifty per cent. In fact, in no posi- 
tion in the game can a base ball player excel to an 
extent sufficient to make hhii useful unless he is fully 



66 THE ART OF FIELDING. 

up to the required mark in fielding skill. Then, too, 
it should be borne in mind that it is fielding that 
is the chief element of success in winning games. 
Given a first rate "battery" in a team, and half its 
value is lost unless it be backed up by first-class field- 
ing support. And the team may be noted for having 
two-thirds of the nine remarkably eflTective in hand- 
ling the ash, and yet if they are below the mark in 
fielding skill, nearly all the advantage they derive 
from their good batting will be lost. In every sea- 
son's campaign in the professional championship 
arena, has the winning team taken the lead in field- 
ing. This was especially noticeable in the League 
and American campaigns of 1884, the Providence 
and Metropolitan teams leading in the club fielding 
averages; while at the bat the Chicago team — fifth 
in the pennant race — led at the bat in the League 
campaign, and the Athletics — sixth in the champion- 
ship contest — took the lead at the bat in the .Ameri- 
can. We have all along contended that it is fielding 
that wins matches in the long run, and a correct 
analysis of each season's play fully proves the fact. 

FIELDING vs. BATTING. 

To sum up our case of fielding vs. batting, we have 
to say that skill in fielding always has been and 
always will be the most attractive feature of base 
ball. One reason for this lies in the fact that to excel 
in fielding one must train for it ; you cannot become 
an expert fielder except by practice. Besides this. 



THE ART OF FIELDING. 67 

there are certain qualities a man must possess before 
he can go into field-training with any hope of attain- 
ing proficiency — he must be able to throw well, as 
regards both distance and accuracy; he requires pluck 
to face hard-hit balls; the judgment to know what 
to do with them when he fields them ; the quickness 
of perception and the nerve to act promptly in criti- 
cal emergencies; and the endurance to stand the 
fatigue of the work in the most important of the sev- 
eral field positions. Now, in batting, the veriest 
novice can with straight pitching hit a long ball to 
the outfield; all that is required is plenty of muscle 
and a keen eye. Of course, practice will make him 
hit with more accuracy, but nevertheless he can hit 
the ball without practice; but no novice can go into 
the field and handle the ball properly. Here practice 
is needed before any degree of proficiency is reached, 
no matter how physically capable a man may be to 
excel in the field. As between batting and fielding, 
too, in which both the batsman and the fielder are 
practiced experts, there is far more attraction to the 
looker-on in seeing a fielder pick up a "hot grounder" 
handsomely, throw it accurately to the baseman, and 
to see it well held by the latter in time to put the 
base-runner out, than is possible from the mere act 
of hitting the ball to the field. The only attractive 
feature of batting, in reality, is when the batsman is 
faced by a strategic pitcher, and the former outwits 
the latter, and secures an unquestioned base- hit, de- 
spite the best of pitching and the sharpest of fielding. 



6S THE ART OF FIELDING. 

But as this is rather exceptional work in batting, 
while sharp fielding is the general rule in the field, 
the fielding naturally presents the most attractions to 
those of the spectators who are capable of judging of 
the true merits of the game. 

Fielding has made rapid strides toward perfection 
within the past decade, and especially within a year 
or two. There is more system about it than there 
used to be. Last year, for instance, saw more of 

that special element of success in fielding good 

"backing-up" — exhibited, than ever before. There 
was more "playing for the side" in the fielding of 
1885 than in any previous season's work; and this 
important matter, too, is far more frequently seen in 
fielding than in batting. In batting, the rule is to 
play for one's individual record, because playing for 
the side is more self-sacrificing in batting than in 
fielding. In fielding, you really help your record 
more by playing for the side than for a special record ; 
hence, "playing for the side" is necessarily more prac- 
ticed in handling the ball than in wielding the bat. 

CHANGING POSITIONS IN FIELDING. 

One of the greatest mistakes a player can make is 
to leave a jDOsition he has learned to excel in, in order 
to attempt to excel in another. It requires years of 
practice in base-play to become familiar with all the 
points of any one of the three positions — all three 
having their peculiar characteristics, diifering mate- 
rially from each other — and for a man who for years 



THE ART OF FIELDING. 69 

has been playing in one position, and who, in that 
position, has got everything down to a spot, to go to 
another one and attempt to equal his play in the one 
he has left, is something one player out of a hundred 
cannot do. Certain men take to certain positions in 
the game of base ball naturally, as Creighton took to 
pitching; and some take to base-play more readily 
than to outfielding or catching or pitching, and when 
a man has found his place he is unwise to leave it to 
seek new laurels in another position. 

There are three special departments of a base ball 
team, viz.: The "battery" players — the pitcher and 
catcher; the infielders, viz., the three basemen and 
the short-stop; and the outfielders, viz., the left, cen- 
ter and right fielders; and in commenting on the 
essentials of success required in each, md also on the 
points of play peculiar to each individual position, we 
shall begin with the "battery" players; and in refer 
ring to these players we shall only comment on that 
part of their duties directly connected with their field- 
ing skill in their respective positions, those of the 
pitcher consisting of his ability to field and catch 
balls from the bat, and to throw them accurately to 
the bases; while those of the catcher are comprised 
in the success of his eflforts, not only to do the same 
thing, but also in catching and stopping balls sent in 
to the bat by tlie pitcher. 



)0 THE ART OP FIELDING. 

BATTERY FIELDING. 

THE PITCHER AS A FIELDER. 

The first requisite of a pitcher, as regards his abil- 
ity to excel in fielding in his position, is the possession 
of courage and pluck in facing hard hit balls from 
the bat which come direct to him. No pitcher can 
fully avail himself of his good judgment in strategic 
skill in pitching who has any fear in facing " hot " 
balls from the bat. At the same time he may pos- 
sess the requisite courage to meet such hard hit balls 
and yet not be amenable to the charge of being 
afraid to face a hot fire of such balls, because he 
deems it wise at times to dodge some exceptionally 
hot liner, or other. What we refer to is, the courage 
which does not allow him to flinch from an endeavor 
to stop or catch the ordinary class of hard hit balls. 
The assistance a pitcher is credited with when the 
batsman strikes out has nothing to do with his regu- 
lar fielding assistance; nor are the errors charged to 
him on "called" or wild pitched balls, anything to 
do with his direct fielding errors, the latter including 
only dropped fly balls, muflfed or fumbled balls from 
the bat, and wide throws to basemen. The fielding 
points a pitcher is called upon to attend to includes 
his running to first base to hold the ball when the 
first baseman deems it necessary to field the ball him- 
self and to throw it to the pitcher on the base. Also 
in the case o a " foul strike," a *' foul " hit ball not 
caught on the fly a " dead " ball, or a base runner 



THE ART OF FIELDING. 7I 

put out for allowing a fair hit ball to strike him, and 
also in the case of a "block " ball, the pitcher must 
hold the ball while staiiding witkiiz the lines of his 
position^ before the ball is regarded as in play; and 
therefore in all such cases he must, after fielding the 
hall, or after it has been thrown in to him, run to his 
position and stand within it ball in hand, before at- 
tempting to put an opponent out. Under the Amer- 
ican code of rules the pitcher must avoid sending the 
ball in so close to the line of the batsman's position as 
to run the risk of hitting him, as his doing so leads to 
the batsman's taking his base on such ball striking 
his person whether it hits him solidly or not, pro- 
vided the batsman makes due effort to avoid being 
hit without being obliged to leave his position. In 
the League code such hitting of the batsman by a 
ball sent in by the pitcher to the bat must be an in- 
ieniional hit or no penalty can be inflicted. But 
such a hit is regarded as intentional if it could readily 
have been avoided by the pitcher. The pitcher, in 
both cases, must therefore see to it that in joitching 
wide of the base, either as a point of play or from in- 
accuracy of delivery, that he takes care to avoid 
pitching the ball over the line of the batsman's posi- 
tion, for this he has no right to do, and if done, and 
the batsman be hit in consequence, the Umpire must 
regard it as an intentional act. In running in to take 
high fly balls, whether balls which are likely to fall 
in front of the foul lines or directly behind them to 
the right or left of the catcher, the pitcher should be 



1' 



THE ART OF FIELDING. 



sure of catching such balls or he should give way to 
the catcher or the nearest in fielder. Moreover, he 
should very seldom back far from his position toward 
second base in trying to catch a high fly ball as the 
chance of his making such a catch in comparison 
with that of some other one of the infielders is not 
good. Another point to play by the pitcher in field- 
ing is always to bear in mind the existing situation of 
aflTairs in the in-field every time he pitches a ball, so 
as to be as prompt as possible in fielding the batted 
ball — whether picked up off the ground, taken on the 
bound, or caught on the fly — so as to throw it at once 
to the right position. Suppose, for instance, a runner 
on second and but one man out, and the batsman 



IS 



sends the pitcher a hot bounder, and the latter turns 
round to catch the runner from second napping, the 
point to play in this instance is, to drive back the 
runner — not forced oflT — to second b}^ feints of throw- 
ing there, and yet be in time to throw the striking 
runner out. Should there be runners on first as well 
as second base when such a ball is hit, however, the 
pitcher then should not hesitate a moment, but 
promptly throw the ball to the. third baseman so as 
to insure the " force oflT." The correct thing in doing 
this is to be ready to do it the moment the ball is hit. 
Such readiness is the result of being fully aware be- 
forehand as to what the exact situation is; if you are 
not fully aware of the position when the hit is made, 
the chances are that when you turn to look where to 
throw to, you will hesitate in your choice until too 



THE ART OF FIELDING. 73 

late to throw either one runner or the other out. 
The excellence of the point of play lies solely in the 
readiness of the pitcher to comprehend the exact sit- 
uation of things when the hit is made. 

Though it is the duty of the short-stop to act as a 
sort of tender to the pitcher, the latter should never 
depend entirely upon such assistance, but attend to 
the ball himself when there is any possible chance of 
hastening a play by it. It is far too rare a thing to 
see a pitcher doing double duty, as it were, by his 
quick movements in fielding infield balls himself 
which are not generally regarded as balls to be fielded 
by the pitcher. It is " pretty work " in a pitcher 
when he is unusually active in backing up the first 
and third base positions when ground balls are hit 
near either of the boundaries of those bases. And it 
is quite the reverse to see a pitcher stand within the 
lines of his position almost indifferent in his efforts to 
field balls which do not come direct to him. It is 
this which shows the difference — as far as fielding 
can show it — between the pitcher who goes in for 
team work and to "play for the side," and the pitcher 
who is merely playing for a record of assistance on 
strikes. 

THE CATCHER AS A FIELDER. 

Catching behind the bat has come to be almost as 
important a position as that of the pitcher himself. 
There is a wonderful contrast in the play of the 
catchers of the present day and the comparatively 




(74) 



THE ART OF FIELDING. 75 

simple work the catchers of the old times had to 
attend to in their positions. When one thinks of Char- 
ley De Bost's easy task in facing Stevens' pitching in 
the old Knickerbocker Club days of 1857; or of the 
catching of Gelston of the old Eagles from Bixby's 
pitching; or that of Ed. Brown of the Eckfords from 
Frank Pidgeon's delivery; or of the graceful Hasten 
of the old Putnams, in catching for Tom Dakin; or 
of Boerum in attending to Mat. O'Brien's pitching; 
all these lights of the old fraternity " pale their inef- 
fectual fires " before the splendid work of Ewing, 
Flint, Bennett, Gilligan, Hackett, and others of the 
League class of professionals, or of that of Milligan, 
Snyder, Holbert, Bushong and others of the American 
Association. To stand up close behind the bat and 
face the hot fire of a swift curve pitcher, even when 
the balls come within comparatively easy reach, is no 
small task; but to do this, and also be keen-sighted 
and active enough to catch the stray wide balls 
which come almost between the legs of the batsman, 
as it were, requires the most skillful play known to 
the position. When it is considered what the duties 
of a first-class catcher are under the present high 
standard of play, it is not to be wondered at that 
really "A No. i" catchers are at a premium. Some 
are noted for their pluck, nerve and skill in playing 
up close to the bat, and in taking those dangerous 
looking fly-tips; others for their agility and judgment 
in securing diflicult foul balls; others, again, for their 
swift and accurate throwing to the bases; and still 



76 THE ART OF FIELDING. 

Others for their piucky endurance of punishment in 
supj)orting a wild delivery. But where is the catcher 
who combines in himself all these essentials of first- 
class play behind the bat? Echo answers: "Where?" 
In our book on " The Art of Pitching" we pointed 
out the absolute necessity of possessing control of 
temper in order to excel in the position. This essen- 
tial is equally requisite in a catcher as in a pitcher. 
It is, we know, pretty trying for a catcher, while he 
is striving his best behind the bat, to find a pitcher 
venting his ill-humor on him because the pitching is 
being punished, or a chance for a diflicult fly-tip hap- 
pens to be missed; but to get vexed at this kind of 
thing only results in a catcher's weakening his play. 
Anger clouds the judgment, unstrings the nerves, and 
mars the sight; and, the moment a player loses con- 
trol of his temper, away goes with it that presence of 
mind so necessary in playing base ball up to its high- 
est standard. 

Of the noted catchers of ten years ago the fine 
work done by White — Spalding's catcher in 1875 — 
presented noteworthy features worthy of copying. 
His forte was his remarkable reticence and wonder- 
ful activity. He presented quite a model for catchers 
in his style of handling the ball — that is, in his method 
of making his hands a sort of spring-box, by which 
he lessens half the force of the blow in holding it 
from a swift delivery. His agility, too, was especially 
noteworthy. But what we admired about his play 
was his quiet, effective way of doing his work. 



THE ART OF FIELDING. 77 

"Kicking" is something unknown to him. And just 
here in parenthesis let us say that there is one thing 
in which White stands pre-eminent, and that is that, 
in integrity of character, he is a model player. Not 
even the whisper of suspicion has ever been heard 
against "Jim White." Herein lies as much of his 
value in a team as in his great skill as a player. This 
is a fact that club-managers thoroughly appreciate, 
as can be judged from the excellent selections made 
by the club-managers for 1886. It certainly inspires 
confidence to be able to insert in their circulars to the 
public a few remarks proving that " reputation is dear 
to players," etc., but it is no more so than it should 
be; dollars, no matter how obtained, are of less value 
to jDlayers than reputation, and when this is apparent 
to the public they will accept the fact that all the 
skill a player possesses is put forth in every game. 

A feature of first-class catching is a prompt and 
accurate return of the ball to the pitcher. This is as 
important for eflfective play as is a rapid delivery by 
the pitcher; we don't mean as regards pace, but in 
sending in balls in rapid succession, by which the 
batsman is obliged to be on the alert all the time, 
with but little opportunity aflforded for leisurely judg- 
ing the balls. Some catchers hold the ball, after re- 
ceiving it from the pitcher, for some time, with a 
view of throwing it to a base, or being ready for that 
play. But the best plan is to promptly return it to 
the pitcher, unless a base runner has started to run on 
the actual delivery of the ball. We* have seen many 



yS THE ART OF FIELDING. 

a base stolen while the catcher has thus held the hall, 
apparently in readiness for a throw. A prompt re- 
turn bothers a base runner, especially if the return 
throw is swift and accurate to the pitcher. But the- 
main value of it is that it enables the pitcher to play 
his strong point of catching the batsman napping by 
a rapid return of straight balls when the batsman is 
not ready to strike. Spalding was the first to intro- 
duce this style of catching, in aid of his pitching, and 
he got many a strike out of it through White's quick 
returns. 

There is one thing a catcher should not be held 
responsible for, and that is the costly consequences of 
a reckless delivery of the ball by a pitcher who lacks 
judicious control of temper. There is something 
outside the line of duty a catcher is called upon to 
perform. He may be required to support wild pitch- 
ing, while he is removed from the responsibility of 
the errors immediately resulting from it; but he can- 
not be bound to support the reckless delivery of a 
bad-tempered pitcher. It is very easy to say that a 
catcher ought to be able to do this, that and the 
other, in his play behind the bat; but there is a limit 
to the work a first-class catcher should be held re- 
sponsible for, and that limit does not include the 
errors plainly traceable to a reckless delivery. 

The habit some catchers have of showing off* their 
skill as swift throwers to bases is a bad one. All that 
is necessary to be done in the way of this throwing 
to bases when men are close to their base, is that of 



THE ART OF FIELDING. 79 

showing the runners that you have good throwing 
at command, and that it will be necessary for them to 
take no risks. There is but one base a catcher can 
throw to with any degree of accuracy, and that is 
second base. There may be an exception to this 
rule, but it is rarely seen. Throwing to first base is 
the least advantageous throw made by a catcher, and 
throwing to third is next. Throwing to short-stop 
requires swift and accurate work and a quick return 
of the ball home, to be successful; and the short 
throws to second, to catch a player running home 
from third, is risky work, not one throw in four of 
this kind succeeding. As a general rule the catcher 
who confines his throwing to one position, viz., that 
of second base, will do far jiiore work in catching 
base runners napping, than one who throws to all 
bases with the same frequency. 

A vile habit which some catchers are prone to ni- 
dulge in is that of growling at umpires and disputing 
their decisions, or ill-naturedly questioning their judg- 
ment. This is something a first-class catcher is never 
guilty of, his silent acquiescence in the decisions of 
umpires being a creditable feature of his play. Aside 
from the fact that it is illegal and unfair, it is the 
worst habit a catcher can indulge in, for growling 
only increases the prejudice of the umpire and con- 
fuses his judgment, and his errors are sure to tell 
against the grumbling catcher's side. 

Some of the finest play behind the bat during 1885 
was that shown in stopping and catching low, wide 



8o THE ART OF FIELDING. 

balls. It is comparatively easy for a catcher to stand 
up close behind the bat and attend to the swift but 
accurate delivery of his pitcher; but the difficult part 
of his work lies in the activity and quickness of sight 
requisite in stopping low "side" balls. 



BASE PLAY. 



The three positions occupied by the first, second 
and third basemen require different qualifications to 
excel in them, though all need certain abilities alike. 
In all three positions opportunities are oflfered for dis- 
tinct and local points of play. The duty of the first 
baseman is mainly to securely hold balls thrown to 
him while he has one foot touching the base; while 
that of the second baseman is chiefly to touch players 
as they run from first to second; the third baseman 
finding his principal work to consist of stopping hotly 
batted balls, catching high foul balls with a great 
twist given thein by the bat, and in keeping players 
from running home, while trying at the same time to 
put strikers out running to first base. 

But these things are but the foundation work of 
the occupants of the three positions. Base players 
are the defenders of the citadel of the field, and each 
and all of them require to be first-class men in re- 
gard to their activity and alertness of movement; 
their courage in facing and stopping hard-hit balls, 
and their ability to throw swiftly and accurately for 
the distances required in field work. 



TRE ART OF FIELDING. 8l 

The first base can be best occupied by a left-hand- 
ed player, as the hand most at command with such 
players faces the balls going close to the line of the 
base; while a left-handed player Is decidedly out of 
place at either of the other infield positions. Of late 
seasons it has been the custom to cover the open gap 
between first and second bases by making the second 
baseman play at "right short;" but this has left a safe 
spot for sharp grounders close to second base, while 
it has also drawn round the short stop to second, and 
the third baseman to short-field to such an extent as 
to make hitting of ground balls near the line of third 
base a sure style of batting for earned bases. 

Last season an element of weakness, in a majority 
of nines, prevailed in the form of "chin-music" and 
ill-natured "chafiing," in which base-players pretty 
generally took part. Joking is all very well in its 
way when It is indulged in good-naturedly, but when 
the so-called jokes are characterized by sarcastic allu- 
sions to a companion's weaknesses, or by irritating 
comments on your adversary's style of play, it be- 
comes an evil which club managers should suppress- 
In some nines of the professional arena of 1885 one 
base player would not speak to another, while a third 
would comment ill-naturedly on every play made, 
good, bad, or indifferent. Indeed, a spirit of fault- 
finding prevailed more or less in every nine, and it 
had a very damaging eflfect on the general play of 
the nine in which it was permitted. While we would 
not care to see a nine play like a party of men devoid 



S3 THE ART OF FIELDING. 

of speech, there is a value in the rule of silence as 
far as "chaffing" or "chin-music," as it is called, is 
concerned, which should make it very generally en- 
forced in the professional arena. Where, too, much 
talk is permitted there is sure to be bad play. Every 
player in a professional nine, and especially base 
players, should play his game quietly^ to play it up 
to the best mark. The game needs all a man's wits 
in full force, and any talk, and especially anything in 
the way of fault-finding or ill-natured criticism, so 
bothers a player as to frequently lead him into errors 
of play he would not otherwise have committed. 

FIRST BASE PLAY. 

All basemen should be good ball catchers, but the 
occupant of the first base should specially excel in 
holding the swiftest thrown balls. He should, also, 
be fearless in facing hot balls from the bat, and expert 
in taking balls from the field, while holding one foot 
on the base. When a ball is hastily thrown to first 
base, his care should be to hold it, but at any rate to 
stop it. A good first base player ought to be able to 
hold a ball from the field, if it comes in anywhere 
within a radius of six feet from the base, and in case 
of high thrown balls he ought to take them' at least 
eight feet high from the base. He must remember 
that the ball must be held by him — with some part 
of his person touching the base at the same time — 
before the striker reaches it, or the latter is not out; 
if the ball is held at the same time, the base runner 



THE ART OF FIELDING. S3 

is not out. Some first base players have a habit of 
taking their feet oflF the base the moment the ball 
has been held, and this frequently leads them to do 
so before holding the ball, or so quickly as to look so 
to the umpire, and the result is, that the striker is 
declared not out. In receiving a ball from the field, 
the first baseman should stand on the base in such a 
manner as not to prevent the runner from reaching 
his base, as the umpire is justified in regarding any 
obstruction of the kind by the base player as inten- 
tional, if it could readily have been avoided, though 
the baseman may not have intended to obstruct his 
opponent, or prevent him from making his base ex- 
cept by legitimate means. In taking his position in 
the field, he should stand about twenty or thirty feet 
from the base toward the right field, and between 
the first and second bases, until the ball has been hit, 
when he should at once take his position with one 
foot on the first base, ready to receive the ball from 
the field. In taking his position for fielding, he will, 
of course, be guided by the style of batting opposed 
to him, standing further out in the fiekl or closer to 
the base, according to the balls the batsman is in the 
habit of hitting. He should keep his eyes open for 
chances in points of play, especially when players are 
forced to vacate bases. Thus, for instance, suppose 
there is a player on the first base when a ball is struck 
to the pitcher and it is held by him on the bound, 
should the pitcher forget to pass the ball to second 
base and send it to first base instead — the runner 



S4 THE ART OF FIELDING. 

standing on the base in the interim instead of run- 
ning to the second base — the point of play for the 
baseman would be to take the ball from the pitcher 
while off the first base, and first touching the player 
standing on the base, put his foot on the bnse with 
ball in hand, thereby making a double play; for 
though the base runner was on the base when 
touched, he had no legal right to be there, inasmuch 
as the batsman, not being put out, forced the base 
runner to leave the base, and he — the base runner. — 
had no title to the first base until the batsman was 
put out. Had the baseman, in the above instance, 
touched the base first, with ball in hand, and then 
touched the player on it, the latter would not have 
been out, as, the moment the striker was put out the 
base runner ceased to be forced to leave the base. 
Similar points to this can frequently be made when a 
player is on the first base and the batsman hits a high 
ball, as the former, in case the ball is caught, has to 
return to first base, and in case it is missed is forced 
to leave for the second base, and is, therefore, very 
likely to be put out there. When an overthrown ball 
to first base is stopped by the crowd in any way — ac- 
cidentally or intentionally — he must first throw it to 
the pitcher's position before he can use it to put a 
player out; and he should also remember that no ball 
hit by the batsman on which a balk has been called, 
can put the striker out no matter if held on the base 
in time, or caught on the fly, or on a foul bound. 
The first baseman requires to be well posted as to 



THE ART OF FIELDING. 85 

how far it will be safe for him to leave his base to 
field a slow rolling ball, which does not go within the 
fair reach of either the pitcher or second baseman. 
In regard to this point, it is known that there is a 
certain kind of ball just hit quietly along the ground 
to the center of a triangle formed by the positions of 
the pitcher, first baseman and second baseman at 
right short field, which almost invariably gives first 
base to an active runner, simply because it is a ball 
which tempts the first base player to try and field it 
himself, and all but old hands get trapped by it. Last 
season we saw several first base players try to field 
such short halls, and in nearly every case they failed. 
First-class basemen judge these balls admirably, and 
such leave them to the pitcher or second baseman to 
field to them unless they happen to come within a 
certain distance which the baseman knows he can 
get to and back before the batsman can travel from 
home to first. It is worthy of remark that these 
short hit balls are entitled to an earned base, no mat- 
ter how poor the hit may look. No hit, be it re- 
membered, is a "poor one" which allows the batsman 
a fair chance to earn his first base, while no matter 
how showy a hit may be, if it affords a chance for a 
catch, at the hands of a sharp and active fielder, it is 
a "poor hit." 



We now come to the second baseman's position, 
and as far as base playing is concerned, it is one of 



86 THE ART OP FIELDING. 

the most important positions in the game. In fact, 
there is no position in the infield which requires 
more judgment in its occupant than does that of the 
second base. The first baseman is, in a measure, 
limited in his sphere of operations, and so is the third 
baseman to a less extent. But the second baseman 
has the whole of the middle infield to cover, and by 
a lack of judgment he can readily give base after 
base to his opponents. The fact is, it requires a man 
of more tact and skill to fill this position than it does 
that of almost any other on the field, excepting, of 
course, the pitcher. Out-fielders have only to attend 
to their duties in catching and throwing, and the 
other basemen in special duties like that of the first 
baseman in holding balls thrown simply to him, and 
that of the third baseman in looking out for high 
foul balls. But the second baseman has to be equally 
expert in holding swiftly-thrown balls, and in look- 
ing out for high fly-balls, while he has, in addition, 
to be very quick in putting a ball on a baseman, and 
as active in backing up as the short-stop is required to 
be; and he has especially to be sharp in judging of a 
batsman's peculiar style of hitting, so as to be on the 
lookout to stop hot grounders passing near his base, 
or to catch high balls over the heads of the in-fielders 
intended to be safe hits. He is required, also, to 
cover second base and to play " right short stop," but 
his position in the field must be governed entirely by 
the character of the batting he is called upon to face. 
If a hard .hitter comes to the bat, and swift balls are 



THE ART OF FIELDING. Sj 

being sent in, he should play well out in the field, 
between right field and second base, and be on the 
^ui Vive for long bound balls or high fly balls, which 
drop between the out-field and the second base line. 
When the batsman makes his first base the second 
baseman comes up and gets near his base in readiness 
to receive the ball from the catcher. He should 
remember that in a majority of cases his duty is to 
touch the base runner, and this it would be well to 
do in all cases when the latter is found off his base. 
The habit of touching base runners is a good one to 
get into, as there is then no likelihood of its being 
forgotten when It becomes necessary for a player to 
be touched. When the first baseman runs after the 
ball hit by the striker, the second baseman should at 
once make for the first base, as he is generally nearer 
to it than either the short stop or pitcher when balls 
are being hit between first and second bases. In 
timing for a throw to first base he should be sure of 
his aim, or, if in doubt, he should let the base be 
made, or otherwise the chances are that an overthrow 
will give his opponent his third instead of his first 
base. Hasty throwing is poor policy except the base- 
men are pretty sure in sending in a swift line ball, 
and there is a good man at first base to hold it. 
When a player is on the first base, and another on 
the third, the second baseman should be on the 
watch, so as to make a prompt return of the ball 
when the catcher throws to the second, and the man 
on the third attempts to run home on the throw. 



88 THE AitT OF FIELDING. 

There is ample time for a ball to be thrown from 
home to second and back to put out a player running 
home, if the throwing is accurate and swift and the 
catching sure. 

It must be borne in mind by players that a player, 
running from home to first base, is allowed to over- 
run his base without running the risk of being put 
out, provided he promptly returns to the base after 
over-running it; but should he attempt to make his 
second after over-running, then he loses his privilege 
of returning. The rule is confined to the first base, 
but it should be applied to all. 

Second base playing now requires the player to be 
not only a base player per se, but a right short stop 
in addition, he having to play in both positions. As 
a base player he must not only be able to hold a ball 
thrown to him " hot " from " home " in good style, 
but he must be quick in his motions in putting it on 
the player running to the base. In fact, he should 
not only hold It as the first-base player does, but 
combine with the sure hold of the ball the activity in 
touching players required in the position. Then, 
too, he must be able to cover all the ground at "right 
short," as well as close around his own base, and to 
do this well he ought to possess the requisite "head- 
work" to be able to judge of the hits by the pitcher's 
delivery, and by the style in which the batsman 
"faces" or "forms " for striking. In fact, the second 
baseman must be one of the most active of in-fielders, 
and a very accurate thrower for short distances 



THE ART OF FIELDING. 89 

besides requiring to be a man who can use nls judg- 
ment to aid him. 

THIRD BASE PLAY. 

The most difficult of the positions on the bases to 
pla}^ well is that of third base, and of late years it 
has become more than ordinarily important from the 
introduction of the scientific style of batting, which 
aims only to secure first base easily— a phase of this 
batting being sharp ground hits along the foul line 
which the third baseman has especially to attend to. 
In fact, what with the high twisting balls sent foul 
from the bat toward third base, and the hot ground- 
ers, which are so difficult to pick up and throw 
quickly and accurately enough to first base, the third 
baseman requires to be a fielder of more than ordi- 
nary ability, and one possessing considerable judg- 
ment. It won't do for a third baseman to take up a 
regular position every time he goes to the field, for 
the batting now in vogue requires him to change his 
place more frequently even than at second base. In 
one and the same inning he will be required to play 
between third and home bases and ten feet inside of 
the foul ball line to cover short ground balls, while 
another batsman may oblige him to act almost as 
short stop, and another force him. well back into the 
field for high fouls. Then, too, he has to watch his 
base very closely when players are running their 
bases, as he has to take throws from the catcher and 
pitcher, as well as from the other in-field players. 



90 



THE ART OF FIELDING. 



To stop a long hot grounder sent close to third base 
and to throw over in time to first base requires . the 
most skillful of fielding, a combination of the brilliant 
"pick-ups" of Denney or Williamson, and the speed 
anfl accuracy of Sutton's throwing. The third base- 
man, too, has considerable work to do in running 
after high foul balls out of reach of the catcher. 

When Ferguson filled the third baseman's position 
in the Atlantic nine about a dozen years ago he did 
some model fielding there. The style in which he 
l^icked up hot ground balls excelled anything ever 
before seen on a ball-field, no one approaching him 
in this respect. His quick throwing, too, was note- 
worthy; also his sure catching of fiy balls. His 
excellence in picking up difficult grounders had been 
attained by practice in hand-ball playing; and club 
managers will find that practice in the hand-ball 
courts will be naore effective in training their players 
than any gymnasium w^ork can be; for it trains to the 
endurance of fatigue, makes a man specially active, 
toughens the hands, and trains a ball player to field 
the most difficult of ground balls, besides educating 
his sight in fielding balls better than any thing else 
can do. 

The importance of the third base position lies in 
the fact that on the play of the third-baseman, and 
on his sharp fielding of difficult balls, will frequently 
depend the loss of runs to his opponents, when the 
failures on the other bases are only made at the cost 
of a single base. In the case of a miss-play at third 



THE ART OF FIELDING. 91 

base, however, one or more runs scored is generally 
the result, that is, in cases where players are running 
their bases. When no men are on the bases the third 
baseman will have to be active in fielding the ball, 
and quick and accurate in throwing it, in order to 
prevent the striker from making his base. The third 
baseman takes a position closer to his base than either 
of the other basemen. Sometimes, however, he takes 
the place of the short stop when the latter covers the 
second base in cases where the second baseman plays 
at right short for a right-field hitter. In throwing 
from base to base hastily, take care that you throw 
low, rather than high, as a low ball can be stopped 
if not handled, whereas a ball overhead gives a run 
in nearly every instance. In fact, as a general thing, 
it is safer to allow a player to make one base than to 
run the risk of helping him to two or three bases by 
an overthrow. Accurate throwing from base to base 
is a pretty feature of the game, and with straight 
throwers and sure catchers can be safely indulged in 
at all times, for though a player may not be put out 
by a throw, when he sees the ball thrown straight 
and handed prettily, it makes him hug his bases 
closer. 

Your earnest, reliable base player when he goes 
into a match, or even a practice game, plays ball 
from the word " Go " until the contest is ended. He 
plays to win, but only to win fairly and manfully, and 
not like a tricky knave. He never plays to show off, 
never puts on airs, or plays one time earnestly and 



92 THE ART OF FIELDING. 

another time lazil}'' or indifferently, as too many do, 
but he works Hke a beaver at all times, and that is 
the way to play ball. 

THE SHORT STOP's POSITION. 

Of late years the position of short stop has almost 
become the key to the infield. The time was when 
the short fielder was regarded simply in the light of 
a waiter on the pitcher. In the old Hoboken days 
short stops were at one time thought to be rather in 
the way in the infield than otherwise; but when 
Johnny Grum, Dicky Pearce, Charley Thomas and 
other noteworthy occupants of that position, some 
twenty odd years ago, began to develop the resources 
of the short stop, and to practically illustrate the 
points of the position, there was quite a change of 
opinion on the subject. Since then short fielding has 
become the strongest force of the attacking power in 
the infield outside of the pitcher's ^Dosition. The rea- 
son is that the short fielder occupies the position of a 
sort of rover. Unlike the base players, though he 
has a fixed position in one respect — standing as he 
does in the field midway between third baseman and 
second baseman — his duty is to occupy the position 
of all three of the basemen when occasion requires. 
Moreover, he is the general backer-up of all the in- 
fielders. No short stop who does not excel in this 
special feature of his position is fit to occupy it. In 
addition, it is necessary that the short fielder should 
be a man of quick perception, prompt to judge of a 



THE ART OF FIELDING. 93 

situation, to take in all the points of the position at a 
glance, and to be able to act quickly and with de- 
cision. A peculiarity of short field play is that too 
often the reputation of a short stop is made or marred 
by the character of the play of the first baseman. 
We know of several short stops in years gone by 
whose success in playing their position was largely 
due to the effective support given them by their first 
baseman. The short fielder has many a ball come 
to him which is hard to stop and pick up so as 
to throw it in time to a base, that, unless the base- 
man happens to be a player who can pick up a 
sharply thrown bounding ball, or reach out and se- 
curely hold a wide side thrown ball, or jump up and 
capture a high thrown ball, the play of the short 
fielder is sure to suffer. On such occasions, when 
hard hit balls are well stopped by the short fielder, 
and he scarcely has time to get them in hand to 
throw accurately, unless he is sure of his baseman, 
the hit yields an earned base. Hence the importance 
of having first basemen in position who can not only 
do what ordinary first basemen are called upon to do, 
viz., stop hard thrown and straight balls, but who are 
able to shine in their position by stopping — if they 
cannot always field them — wide-thrown balls. The 
majority of the crowd of spectators cannot see how 
wide or bad a throw is made to first or second bases 
from short field, but they can see whether it be held 
or not; and when the ball is held the most of the 
credit of the out is given to the short stop for his 



94 



THE ART OF FIELDING. 



assistance, when, in fact, but for the fine playing of 
the baseman in holding the wide or low thrown balls, 
the runner would have secured his base. The beauty 
of George Wright's throwing to first base was his 
accuracy of aim; knowing his own power of swift 
throwing, he would wait until sure of his aim, and 
then let the ball go like a rifle-shot. He has had 
many imitators in swift throwing to the bases, but 
very few in the accuracy of his aim, and it was in 
that particular that he so greatly excelled. A swift 
thrower from short field, even when supported by a 
first-class first baseman, is a costly player as a gen- 
eral thing. He likes to show off his speed too much, 
and forgets too often the cost of the exhibition. The 
short fielder requires to be in full accord with the 
pitcher in regard to being familiar with the latter's 
special points of strategic play, so that he may duly 
prepare either to stand in closer or out further than 
usual. He should also be able to understand signals 
from the catcher, in order that the latter player, in 
throwing to second base, should be posted as to 
which man to throw to — second baseman or short 
stop. Thus, for instance, if a player be on first base, 
ready to run to second, and he should see the second 
baseman ready to receive a ball, he will hesitate to 
run; but should he see the baseman standing at "right 
short," leaving the second base apparently unprotect- 
ed, he will run the risk of attempting to make the 
base. In this case the short-field should be able to 
signal the catcher that he is ready for the point, and 



THE ART OF FIELDING. S>5 

at the same time that the catcher prepares to throw 
the ball to the base the short stop should be there to 
receive it, the latter starting to run from short to sec- 
ond just as the base runner starts to run from first to 
second. We merely refer to this point in order to 
illustrate the character of fielding an eflfective short 
stop is called upon constantly to attend to. He should 
always be in motion while the ball is in play in the 
field, first in watching balls that are sent to his own 
position, secondly in backing up the third base, and 
lastly in playing the second baseman's position, or in 
sujDporting the pitcher, to which player he should be 
a sort of special attendant, in order to save him as 
much work as he can. Moreover, the shortstop re- 
quires to be an exceedingly swift and accurate 
thrower, as of all positions wild throwing from short 
field is the most costly. He should also be a very 
sure catch, especially in judging of those difiicult high 
balls which almost belong to the outfielder's position 
to take. The short field is especially adapted for an 
active fielder of short stature, as they can more readily 
attend to those short, sharp grounders which form 
the majority of balls to the short stop's position, and 
which are generally so difficult for a tall or heavily- 
built man to attend to. 

The short stop should be constantly on the alert; 
quick in his movements, active of foot, a quick and 
straight thrower at short distances, and especially a 
man of good judgment, so as to know when to throw 
and when not to throw after fielding a ball. There 



96 



THE ART OF FIELDING. 



was some very poor play shown by short stops last 
season, in the way of ill-judged throws. Some would 
throw hastily and swiftly, after failing to pick up a 
ball neatly, and thereby would add a wild throw to 
their fielding error. Others, again, would pick up a 
ball prettily and then be so deliberate in throwing — 
depending too much upon their speed — that when 
the ball did go to the first base it was too " hot " or 
too "wide" to be held. A short stop should be 
ready to run up and field a short hit between 
pitcher and third, or to run out and take a high fiy 
short of the left field. The short stop has the best 
and the most chances given him for double plays on 
dropped fly balls, but it is not an easy thing to do. It 
will no longer do to catch the ball and then drop it, 
the point of play now being to let it go to the ground 
and then field it at once, covering the ball as it drops. 
The best-played " point " in this respect we ever saw 
at the hands of a short stop was that played by 
George Wright on McDonald and Pearce in the first 
Atlantic and Red Stocking match of 1870. It oc- 
curred in the tenth inning of the game, after the At- 
lantics had retired the Reds for a blank score, and, 
with the figures at 5 to 5, had two men on the bases, 
with but one hand out, and just one run to get to 
win, McDonald was at second base and Pearce at 
first, with Smith at the bat. One good hit would 
have sent McDonald home and have won the game. 
First came a foul ball out of reach, and then Charley 
popped up a high ball, which George Wright pro- 



THE ART OF FIELDING. 



97 



pared himself to take, and Pearce, seeing the almost 
certainty of the catch, held his base, as did McDon- 
ald, George Wright being careful to avoid any move- 
ment likely to indicate the point he intended to play. 
Suddenly, however, as the ball fell, George dropped 
into a stooping position, placed his hands flat to re- 
ceive the ball near the ground, and the result was the 
ball bounded out of his hands on to the ground. It 
was picked up sharply, sent like a rifle shot to third 
base, where Waterman stood ready to hold it — 
thereby putting out McDonald, forced off from sec- 
ond; and by Waterman the ball was promptly sent 
to Sweasy, putting out Pearce, forced off from first. 
The result of this well played point was the retire- 
ment of the Atlantics for a blank score. The plan 
of holding out the palms of the hands flat so as to 
allow the ball to bound dead out of the hands, and 
with the twist taken out of it before reaching the 
ground, is the best way of playing this point. An- 
other way is to let the ball bound and smother it as it 
rises. It won't do to catch the ball and then drop it, 
as that amounts to a " momentarily" holding of the 
ball and consequently a catch. 

A great many errors in fielding — or rather in fail- 
ing to field — sharply hit ground balls, were charged 
to short stops last season for which they were not 
responsible. It is not generally understood that when 
the ball has a strong bias or twist imparted to it by 
the pitcher, and when it is sharply hit to the ground, 
it will diverge from the direct line of progress the 



9S THE ART OF FIELDING. 

moment it strikes the ground, and in such a way as 
entirely to deceive the fielder, who is prepared for 
the regular rebound only, and not to find the ball re- 
bounding to the right or left and with unusual speed. 
These failures to stop ground balls are not errors, as 
they cannot be provided for by the most expert 
fielding. 

Cool judgment in critical points of a game should 
be a feature of first-class short fielding. This was a 
merit of Dick Pearce's play in the old days, as was 
his sound judgment in all the strategical points. In 
emergencies and critical positions of a contest no 
other man was so cool and collected as Pearce. It was 
this very thing which really won the game for the 
old Atlantic nine in their second contest in i860 with 
the Excelsiors, when the players on both sides, as 
well as the umpire, became befogged about a point 
of play in running the bases — a point which Pearce 
alone saw and explained — the result being two men 
and side out for the Excelsiors, and their demoraliza- 
tion when they had the game in their hands. In 
this respect Dick excelled all the other short stops of 
his day. 

SHORT FIELDING. 

More opportunities are aflforded the short fielder 
for playing strategic points in putting out base run- 
ners than are presented to any other occupant of the 
infield. He has greater supervision over the infield 



THE ART OF FIELDING. 



99 



than any other player, and he combines in his posi- 
tion the double office of short stop and base player, 
being called upon to pla}^ both second and third bases, 
in emergencies, quite frequently. He is also the gen- 
eral backer-up of the infield. For this reason the 
short stop requires to be a player very quick to judge 
of points in strategic play, and to be perfectly famil- 
iar with every rule of the game, besides being cool 
and nervy in exciting periods of a contest. To 
illustrate: Suppose all three of the bases are occu- 
pied in the last inning of a game, with but one man 
out, but one run to get, and a hard hit ball is sent direct 
to the short stop; though a good fielder might be 
able to stop the ball well enough, such a player, lack- 
ing nerve and presence of mind for prompt action, or 
the judgment to decide quickly what was best to be 
done, v^ould commit some error or other in throwing 
the ball which would allow the winning run to be 
scored, and yet neither muflf the ball in fielding it, or 
throw it to the base wildly. 

It is worthy of remark, as som_ething which once 
upon a time had to be referred to, that it is in the 
short stop's position that honesty tells, for it is in cases 
of this kind that chances to hide a crooked piece of 
play are oflfered. To fumble a hard-hit ground ball, 
to make a feint to throw it to a base to put a runner 
out, and then throw it just too late to catch the striker 
at first base; or to throw it home so swiftly as to 
render it impossible for the catcher to stop it in time 
are plays which may be legitimate errors, and yet may 



lOO THE ART OF FIELDING. 

be intentional misplays. It all depends upon what 
the character of the short stop is. 

A word about the recording of short stop's errors: 
As a rule scorers were too hard on short stops' last 
season in the way of charging them with errors. 
We saw some scorers charge short stops with errors 
when they failed to stop a hard hit ground ball 
well enough to pick it up and throw it in time to the 
base. To stop a hard hit grounder, even if the 
ball be not sent to the base in time, is a good play, 
and no error. If it is sent to the base in time, it is a 
splendid piece of fielding. Frequently hard hit balls 
from curved line pitching, when they strike the in- 
field in front of the short stop, diverge on the rebound 
at a tangent, and thus escape capture. This, too, was 
frequently charged as an error when a base hit 
should have been credited. There is altogether too 
great a tendency to charge errors to fielders — to short 
stojos in particular — in cases where hard hit ground 
balls are not stopped in time. It is difficult to do it 
even on a smooth, velvety turf like that of the infield 
of the old Union Grounds of years ago, and almost 
imjDOssible on a rough or uneven infield, like that of 
the majority of ball fields. 

The play in a game when the bases are occupied 
by runners is frequently marred by the failure 
of the short stop to back up basemen to whom 
the catcher or pitcher throws. There should 
always be an understanding between the short stop 
and both pitcher and catcher in regard to the 



THE ART OF FIELDING. lOl 

special conditions which will occasion either to 
make throws to the basemen, so that the short 
stop might always be on the qui vive to back 
up well. There was a tendency shown by some 
short stops last season to indulge in showy, swift 
throwing, as also in somewhat careless, slow throw- 
ing. A ball would be batted hard to the short stop, 
but still so as to enable him to pick it up in time, and 
when he had done this well he would take his time in 
throwing, and then send it in hot to the baseman, 
when a slower throw would have answered the pur- 
pose better had he thrown it as soon as he had fielded 
it. This was often done to " show off" in fast throw- 
ing, and of course, at the risk of the ball not being 
held in time. When a ball is hit to short stop so as 
to make it difficult to stop and field in time for the 
throw, then a swift throw is justifiable. But this 
throwing fast when the fielder has time for a moder- 
ate and more accurate throw, is not " good form " in 
short field work. Neither is the slow toss of the ball 
to the baseman, when the ball from the bat is one 
which gives the short stop ample time to throw it 
to the baseman. The habit of play in throwing 
should be straight-line throwing, with moderate but 
timely speed, leaving very swift throwing to special 
emergencies, when the critical period of a contest may 
excuse some extra risk being incurred. There was 
considerable throwing done from short field last sea- 
son which may be classed as bad throwing, from the 
fact that it was not a point to throw the ball at all. 



102 THE ART OF^ FIELDING. 

It is in this respect that the record of errors comes in 
with objectionable effect. There are numerous times 
in the course of a match when it is better play to hold 
a orround ball from the bat instead of throwinof it to 
the base. These instances occur when there is no 
runner on a base, or only one on first base, and the ball 
hit to the short stop is a difficult one to pick up. 
Too frequently in such cases the fielder will try to 
escape the result of a "juggle" or "fumble" of the 
ball by a hasty throw, and generally at the cost of a 
double error in the form of either a wild throw or a 
failure to hold the ball by the base player. Better to 
abide by the one error and escape the double one by 
holding the ball and keeping the runners from getting 
extra bases. As regards the short stop acting a-s tem- 
porary second baseman, except when a ball is hit to 
right short and a runner is on first and is forced, it de- 
pends upon the peculiar style of batting of the man 
at the bat as to whether short stop plays as second 
baseman or not. Ordinarily, with a right hand bats- 
man at the bat, the short stop will play in his own 
position. But when he sees the batsman "facing" 
for a right field hit, he should move down to cover 
second base, leaving the second baseman to go to 
right short. The same course should be pursued, too, 
when left-handed men come to the bat. Under the 
circumstances of the marked increase in right field 
batting of late years, and of the introduction of bat- 
ting quartets of left-handed hard hitters the necessity 
for the short stop being able to be a good second base 



THE ART OF FIELDING. . I03 

player, becomes very apparent. A jDoint played last 
season with good effect at times was that of the 
catcher throwing to short stop when a runner was on 
third, and another ran down from first to second to 
get the man on third home. This was not done in 
the old style of throwing to short stop's position, but 
in throwing a little to the left of second buse, the 
short stop jumping forward and taking the ball and 
promptly returning it to the catcher in time. When 
the ball is swiftly thrown and accurately returned, the 
play invariably yields an out; but it must be under- 
stood by signal to be done effectually. There was 
.one thing in short tield play which was not always 
attended to properly last season, and that was the 
want of habits of play in throwing to each base 
according to regular rule. Unless a short stop plays 
by regular rule, habitually making the proper throw 
at the proper time, he is apt to get confused when left 
to judge a throw in a second of time. When two men 
are out, the short stop should disregard all temptation 
to throw a fielded ground ball anywhere but to the first 
baseman. When a runner is on first, too, such a 
fielded ball should be sent to second base habitually, 
except in the case of tv/o men being out. Plays of 
this kind should be done by rule, and so habitually 
that the play becomes natural to the fielder, and he 
does it by instinct, as it were. In such cases, balls 
which come to him hard to field in time will reach the 
baseman sooner than they would if he were not 
habituated to certain rules of play. We have seen 



I04 . THE ART OF FIELDING. 

some splendid short fielding in bur day, but tnere is 
still roo-m for more points and even better play than 
any yet exhibited. 

THE OUT FIELD POSITIONS. 

Quite a change has taken place within the past few 
years in reference to the importance of each position 
in the outfield. Twenty years ago the left field posi- 
tion was regarded as the position. That was in the 
days of the ten-inch-round, two-and-a-half rubber 
ball, and when the so-called " splendid hits " to left 
field were regarded as the feature of the game, and 
fielding skill was considered of secondary import- 
ance. Now the most difficult work is done in the 
right field, and the old-time features of outfielding, 
the catching of long fly balls, has been superseded 
by brilliant instances of assistance in putting out ph'iy- 
ers on bases by quick and accurate throwing in of 
balls, from the outfield positions. To one accus- 
tomed to see the headwork pla}^ of skillful outfielders 
of the present day, the old-time method would appear 
laughable. The old outfielder — even after the days 
of the bound-catch of fair balls— seldom deemed it 
worth his while to leave his position to go after a 
ball flying to any other position in the outfield. 
Playing for the side was then unknown, except in 
the instance of the old Atlantic nine, and also the 
Excelsior nine in iS6o. In those days — and some 
players practice the same thing now — an outfielder 
thought he did his work well if he caught the fly- 



THE ART OF FIELDINCi. lo:; 

ball that came to him, without troubling himself to 
run far to get it. Anything like an assistance in 
putting out players on bases from balls thro\vn in 
from the outfield, was comparatively rare play, ex- 
cept that now and then an effort was made to put 
out players trying to make home runs. All this has 
been changed. During 18S4 some of the prettiest 
outfield work that was done was in making brilliant 
plays in doubling ujd base runners from quick returns 
of base-hit balls to the outfield, and from double 
plays from well-taken fly balls, not to mention the 
many instances of ^ sharp' fielding in assistance ren- 
dered from right field in putting out strikers before 
they reached first base. Of course there are instances 
in which much of the importance of an outfield posi- 
tion is derived from the peculiar character of the 
ground. As a general thing, however, the three 
positions are pretty equal in their call for service from 
players, though, if anything, the right field has the 
preference, as being the place to put the best out- 
fielder of the three. 

An important eflfect of sharp outfield play in the 
quick return in of fielded balls, is that of bothering 
base runners. Any experienced base runner knows 
very well that in four cases out of five he can tell 
whether a long-hit ball from the bat is going to be 
held or not by this or that outfielder; and in this 
knowledge he makes his estimate of how many bases 
he can make on his hit. If the hit is a high one, 
falling a little short of the outfielder's position, so as 



lo6 THE ART OF FIELDING. 

to oblige him to run in for the ball, and he knows his 
fielder well, he goes for the second or third on the 
hit, sure. But in the case of outfielders like Hor- 
nung, Hines or Evans it is dif^cult to tell when a 
ball is safe or not, if hit high in the air, and hence 
fewer bases are risked in running when such skillful 
outfielders are seen going after a ball than is done in 
the case of ordinary outfielders, not so remarkably 
long-reached nor active. It is in this special point of 
play that great activity, backed up by head work, 
comes in with such telling effect in outfield positions. 
The substitution of a comparatively dead ball in 
the game, compared to the old lively rubber filled 
ball of years past, has had the effect of materially 
changing the character of outfield play, and of giv- 
ing more importance to the playing of the outfield 
positions. When the old rubber ball was in use and 
heavy hitting to the outfield was the rule, all the 
outfielders had to do was to stand out as far as they 
could, catch the ball and throw it in promptly; no 
opportunities were afforded them then for judging of 
a batsman's play, as it was all chance hitting, each 
going in to hit the ball as hard as he could, and with 
no idea as to which part of the field the ball would 
be likely to go. Since the dead ball has been in use? 
however, outfielders have been allowed opportunities 
for " headwork" in judging of the style of batting 
by their opponents, and of playing their positions 
accordingly. For this reason in choosing outfielders 
for first-class professional nines, something more than 



THE ART OF FIELDING. I07 

the mere ability of the fielder to catch the ball and 
throw it in a long distance must be considered, and 
that something is the judgment of the fielder in 
being able to play the strategical points of his posi- 
tion, and to do something more than to merely stand 
out in the field and catch a ball that comes to him, or 
to run after one and throw it in a hundred yards. 
We have seen outfielders not only watch carefully 
every private signal of the pitcher, but also judge 
for themselves in the matter of the style of the bats- 
man's play, and to get in closer, stand out further, 
get nearer to the foul ball lines, or to move more to 
the left or right as the style of hitting appears to 
require, thereby showing their ability to play the 
strategical points of their positions. In the case of 
using an elastic ball, any man who is a safe catcher 
and a long distance thrower will do to play in the 
outfield against lively ball batting; but in the case of 
the use of a dead ball, with its accompaniment of 
scientific batting, outfielders must be men who can 
use their heads as well as their hands, or the posi- 
tions will not be efficiently played. 

Outfielders should never stand still or occupy one 
position all the time, but be ever on the move, ready 
for a quick run, or to back up each other. They 
should never hold a ball a minute, but promptly re- 
turn it to the infield as soon as handled. In thus 
returning the ball they should invariably send it in to 
the second baseman, unless some other fielder is 
designated on call by the captain. But in the case of 



loS THE ART OF FIELDING. 

a fly catch in the outer field, when bases are being 
run, the outfielder should, of course, throw to the 
base player the base runner is returning to. The 
outfield is the place for the change pitcher of the nine 
to occupy. All three of the outfielders should watch 
the movements of the pitcher and batsman closely, 
so as to be ready to judge the ball likely to be hit 
to them. When a good batsman is at the home base 
they can get in closer than when a home-run hitter 
handles the ash. When the outfielders see that foul 
balls are being hit frequently, they should get up 
near the foul ball line. It is easier to run in for a 
short ball than to back out for a high one, and there- 
fore they should not stand in too close, though going 
out too far is worse still. No outfielder should stand 
still simply because the ball does not happen to come 
in his direction. Activity and judgment in being 
prompt in support is characteristic of first-class play 
in the out as well as in the infield. With the com- 
paratively dead ball now in use outfielders will do 
well to stand in closer than hitherto. It is better to 
let a long ball go over your head now and then than 
to miss the chance of taking short high balls on the 
fly, which are sent just over the heads of the infield- 
ers. Where one long ball is hit five short ones are 
sent to the outer field. 

In regard to running in for a catch, it is always 
better to stop and be sure of fielding the ball than to 
continue to run in in the hope of catching it in brill- 
iant style, only to find yourself overrunning the ball, 



THE ART OF FIELDING. 



09 



and thereby letting your adversary secure an extra 
base or an unearned run. Such a thing as a double 
play from an outfield catch used to be very rare; and 
putting out a player at first base from a throw in from 
right field, was a feat almost unknown. Now an 
outfielder does not play up to his mark unless he fie- 
quently makes such plays during a season's campaign. 
No one would suppose that after sixteen 3^ears of 
regular professional playing, and of even a longer ex- 
perience than that in the training of professional 
nines, any outfielder would be found playing his po- 
sition as if he were a mere ornamental figure in the 
team, and only played in one particular position to 
attend to particular balls which happened to come 
directly to where he was standing. But yet several 
such players were seen in the outfield teams of a few 
professional nines last season. That is, they played 
their position as if they had only a limited portion of 
ground to cover, and therefore had no occasion to get 
out of their special locality to field balls sent to the 
positions of other out-fielders. "Whatd'yer blame 
me for? It wan't my ball; it was the center-field- 
er's ball." This was the tenor of many of the expla- 
nations made by this class of outfielders last season, 
when they were called upon to answer the charge of 
making an error in not properly attending to their 
duties. The great point in outfielding is to send 
each man into the position to play as if he were the 
only outfielder present to cover the whole outfield. 
The idea that a left fielder has only to attend to left 



IIO THE ART OF FIELDING. 

field balls and a right fielder to those sent to 
right field, is an exploded rule of the old amateur 
days. What the short fielder is to the basemen in 
the infield in giving them support by judicious back- 
ing-up, so should each of the three outfielders be to 
one another. The moment a long high ball, or a 
hard-hit liner, or a hopping ball is hit to the outfield, 
that moment every one of the three outfielders should 
be on the alert to catch it, stop it, or to field it when 
it happens to be missed or fumbled by the fielder to 
whose particular position the ball is sent. Of course 
it should be plainl}' understood beforehand as to 
who is to attend to the high fly ball when it 
comes, so as to avoid a dangerous collision, and the 
dropping of the ball between two hesitating fielders. 
In all other instances, too, no proper outfielding is 
done unless it is seen that all three fielders are in mo- 
tion after the ball, hit to any part of the outfield. 
Here is an instance of how this thing works: In a 
match last season a long high ball was hit to the left 
fielder's position. The moment the ball was seen 
flying to the outfield all three of the fielders were 
on the move after it. The left fielder backed down 
on running to catch it; the center fielder ran down 
near him, to be ready to field it in case of a drop, and 
the right fielder ran up toward the infield to be 
ready to forward the ball in on a sharp, quick throw 
toward infield. A splendid catch was made by the 
left fielder, and he had time for a long throw in to 
third base; but the point we wish show is that of 



THE ART OF FIELDING. I I I 

the prompt assistance afforded by the other two out 
fielders working together as a team, which the three 
outfielders should be taught to do in all first-class 
nines. But this particular branch of the system of 
'•playing for the side" is never seen where your out- 
fielders are composed of men playing for a record, 
Your record man seldom troubles himself about balls 
out of his district; and if, being a left fielder, he sees 
a ball sent flying to right field, he just folds his arms 
and becomes a mere looker-on, even if he does not 
inwardly hope to see a rival fielder make a muff, by 
means of which his own record will be benefited; 
■ whether that be done at the cost of the team at large, 
and npi'haps that of the game itself, does not affect 
5 sole consideration being his record ; and if 
;pt all right by his leading his two compan- 
enter and right fields, everything else is of 
isequence. Nowadays catching high fly 
by muffing batsmen to the outfield in their 
ts for home run applause, is one of the least 
outfielder has to do. And, moreover, it is 
lat an outfielder who has made an average 
le catch to a match, may have done more 
:e to his side, by splendid fielding support 
• up and assisting the two other fielders, 
hose record in the average figures is at the 
ry Wright, when at center field in the early 
e Boston nine, used to show the outfield 
one upon the principle of playing for the 
e style. He always led in assistance from 



112 THE ART OF FIELDING. 

his position, and in backing up. Harry got at balls 
at center field that few outfielders ever trouble them- 
selves to go for; he knew where to lay for most hit- 
ters — a great point in outbelding. Some splendid 
work in making difficult catches was done in the out- 
field last season, and also in throwing balls in accu- 
rately and in time. And, by the way, this throwing- 
in business is something which offers a field for 
improvement. Your long-throwers are just as fond 
of throwing balls in from the outfield for the sake of 
the throw, as fast throwers in the infield are in throw- 
ing fast to first base. Throwing home to the catcher 
from the outfield is a very nice thing to do, and it is 
important that it be done well if attempted at all, as 
overthrows from this quarter are damaging, in tb-** 
they invariably yield runs instead of merely 
It is no easy matter for an outfielder, after con 
ing his mind on the effort to catch a dfficult 
to turn suddenly and grasp the idea of the po 
the infield quickly enough to know to what 
throw\ In such cases a throw home is gene. 
sorted to, and in three cases out of five an ov 
is the result. The rule for outfield throwing 
be — when in doubt^ throw into shoi't Jield, ''. 
outfield of the League teams of 1884 was th: 
Providence nine, and yet they did not play u 
mark as a team that the three positions admi 
fact, there is considerable room for improve 
outfield team-playing. One reason is, that 
tain extent team-playing in the outfield is : 



THE ART OF FIELDING. II3 

ficing work, as far as the average record is concerned. 
When the fielding averages are made up from data 
which cover the whole ground, and not simply a por- 
tion of it, as it does now, then we shall see better 
team work in the outfield. Let it be borne in mind 
that a well-trained professional nine contains three 
distinct teams, which work together as a whole — that 
is, the "battery," or team of pitcher and catcher, the 
basemen's team, and the outfield team. When nines 
are composed of men selected on the basis of this 
team principle, and not for their individual records, 
then we shall see better work done. 



GENERAL HINTS ON FIELDING. 

There is no habit fielders have that is more char- 
acteristic of ochool boys, or which leads to more un- 
pleasantness and ill-feeling in a match, than that of 
finding fault with those who commit errors of play 
in the field. Every man in the field tries to do his best 
for his own credit's sake, and if he fails, censure but 
adds to his chagrin without in the least improving his 
play; on the contrary, fault-finding is only calculated 
to make him play worse. In no game are the 
amenities of social life more necessary to a full enjoy- 
ment of the pastime than in base ball. Particularly 
acceptable are words of commendation for good play, 
and remarks calculated to remove the annoyance aris- 
ing from errors in the field, to young ball players, and 
these form some of the strongest incentives to extra 



II j. THE ART OF FIELDING. 

exertion on their part, besides promoting kindly feel- 
ings on the field and during the game. We must 
enter our protest against the fault-finding, grumbling 
and snarling disposition which continually censures 
every failure to succeed, and barely tolerates any 
creditable eflFort that does not emanate from them- 
selves, or in which they do not participate. Such 
men as these constitutional grumblers are the nuis- 
ances of a ball field, and destroy all the pleasure 
which would otherwise result from the game. Every 
manly player will keep silent when he sees an error 
committed, or if he makes any remark at all, will 
apologize for it in some way. Those who find fault 
and growl at errors of play are of the class who pre- 
fer to gratify their malice and ill-temper at the ex- 
pense of the unlucky fielder who happens to " muff" 
a ball or two in a game. 

Fielders should remember that the captain of the 
nine is alone the spokesman of the party and the com- 
mander of the field. 

No outfielder should hold a ball a moment longer 
than it is necessary for him to handle it in throwing. 
In the infield, however, a ball can be sometimes held 
by the fielder with safety and advantage. 

Never stand still in your position simply because 
the ball happens to go in another direction than the 
position you occupy, but always be on the move to 
aid the other fielders, or to back them up. Activity 
in the field and judgment in being prompt in support 
is the characteristic of a first-class fielder. 



THE ART OF FIELDING. II 5 

Play earnestly at all times, whether in an ordinary 
practice game or in a match. Get into the habit of 
doing your best on all occasions. It is invariably the 
mark of a vain and conceited ball player to walk on 
the field and play in a game as if he was conferring 
a fiivor by participating in the game; and players 
who play with an air of indifference as to the result 
of the game, or who become despondent when the 
odds are against them, are no players for a first-class 
nine. 

Next to seemg a man field well, the most attractive 
thing is to see a player take things easy and good- 
naturedly. If you miss a fly ball, allow an import- 
ant ball to pass you, or fail to handle a ball in time 
on a base, nothing is more boyish than to vent your 
ill-temjDcr on some one who may have balked you in 
catching it, or thrown it to you badly. Control your- 
self and take it smilingly, or if you lack the moral 
courage to do that, keep your mouth shut at least. 
Your good-natured fellows w';0 i^lay their best all 
the time, and yet take everything bad or good with a 
good-natured smile, are as desirable as companions on 
a ball field as your growlers are to be detested. 

When an error of play is committed do your best 
at once to remedy the evil by using your best efforts 
to get at the ball, either after missing it, letting it pass 
you, or failing to hold it. Some players after 
"mufiing" a ball will walk after it like an ill-tem- 
pered, sulky ten-year-old. 



Il6 THE ART OF FIELDING. 

THROWING TO FIRST BASE. 

Throwing to first base to catch a runner napping 
was a frequent thing in the old days — now it is justly 
regarded as a play of only exceptional occurrence. 
Now and then there may be a pitcher who has a 
rare knack of dodging a runner out by a throw of 
this kind; but, as a general rule, no strategic pitcher 
will allow himself to be put out of pitching form by 
the efforts of a daring runner to induce him to throw 
to first base. The rule now is for the pitcher to 
trust to his strategic delivery to the bat to catch the 
runner at first base at fault, and this he does by 
causing the batsman to force him out at second. 
Under the new balk rule the pitcher finds it difficult 
to catch runners napping at first base unless he and 
the catcher have the signal business well arranged. 
In fact, the pitcher's efforts will in the main now be 
devoted to inducing the runner on first to go down 
to second, where sharp play between the pitcher and 
catcher will give better chances to throw out runners 
then than before. 



RUNNING BASES ON FLY CATCHES. 

We noticed in the play of the best base-running 
teams of 1884 that, when a long hy ball was hit to 
the outfield, runners on the bases held possession of 
their bases until the ball touched the hands of the 
fielder, and was either caught or dropped. Such 
runners never left their bases when the ball was hit, 



THE ART OF FIELDING. 11^ 

but stayed on them, ready to run on the catch or the 
drop. Runners who blundered in their work would 
invariably run halfway down and stop and watch the 
ball, and, in case of a catch, they would thereby have 
an additional forty or fifty feet to run, besides gaining 
little or nothing if the ball was dropped. If at any 
time when they saw a high ball hit to the outfield, 
and under the impulse of the moment they left their 
base, they would promptly return to the b.ise and 
wait until the catch was made. 



TEAM WORK IN FIELDING. 

We have before called attention to the marked 
difference between the field work of what we call a 
mere picked nme, viz., a nine composed of good 
players in their respective positions, but who are en- 
tirely new to each other's style of play — -or, if not, 
are equally disqualified from doing team work by 
the uncongeniality of their dispositions, or from like 
causes — and a nine who work together as a whole 
with machine-like unity and effect, and who are a 
regular team in their trained method of playing into 
one another's hands for the benefit of the side. It is 
very evident that the importance of this difference is 
being realized more and more each season, and the 
result is that nines are being organized more on the 
sound basis of their doing team work than in accord- 
ance with the old plan of selecting mere picked 
nines. 



Il8 THE ART OP FIELDING. 



BACKING UP. 



Backing each other up is one great feature of the 
play of first-class basemen. Indeed, infield work can 
never be effectually attended to without it. Backing 
up is, in fact, an essential of successful fielding in 
every part of the diamond, but especially is it neces- 
sary in the infield. When the old method of fielding 
in vogue twenty years ago at Hoboken is remem- 
bered and contrasted with such fielding as was exhib- 
ited by the champion Providence team of 1884, one 
can readily see what a vast improvement has taken 
place, not only in fielding generally, but especially in 
base play. In the old times the only infielder who 
ever thought of backing up a companion was the 
short stop, and even he considered that his chief duty 
in this respect was to attend to the pitcher only. 
Base players of the olden time, with some rare ex- 
ceptions, never thought of leaving their positions to 
field a ball, or to assist in fielding it, which went to 
any position save their own, hence base running was 
done in that time which yielded bases such as could 
not be run now in any of our nines. One special 
feature of the best team work in fielding during the 
season of 18S4 was the eflfective play shown in 
"backing up" one.another. This involved, of course, 
some extra field work, but the advantages accruing 
from it more than compensated for the additional 
labor. It worked in this way : The ball was pitched 
to the bat; it was hit to the infield in such a way as 



THE ART OP FIELDING. II9 

to necessitate sharp handlino^ in picking up the ball 
in time to get it to the base. Promptly on the hit 
being made, the pitcher and catcher ran behind the 
first base to stop the ball in case of a wide throw. 
Perhaps five times out of six this backing up was not 
actually needed; but it was there the important' sixth 
time, with the result of two or three bases saved, if 
not a base runner put out. This sjKstem, carried out 
in all the positions, not only inspires confidence in 
fielders obliged to throw quickly, but it deters base 
running, and keeps runners from taking risks to 
reach bases they would otherwise, attempt. Besides 
which, it gives confidence to the field by making 
their work more that of a trained team than of a 
mere picked nine. 

Every base player should be active In "backing 
up" in the infield. The life of fielding is in the sup- 
port afforded each other by the fielders who are 
located near together. A good fielder or base player 
never stands still; he is always on the move, ready 
for a spring to reach the ball, a stoop to pick it up, 
or a prompt movement to stop it, and he always has 
his eye upon the ball, especially when it is flying 
about inside the base lines, or from base to base. 
Poor base players seldom put themselves out of the 
way to field a ball unless it comes within their special 
district, but a good base player is on the alert to play 
at a moment's notice, on any base from which the 
player has gone after the ball. When bases are va- 
cated, or foul or fly balls are struck, all the base play- 



120 THE ART OF FIELDING. 

ers should handle the ball in the same way as the 
first base player does in putting out the batsman or 
running to first base. 



CAPTAINING A TEAM. 

"Who shall we have to captain the nine?" was the 
general query at the meetings of club-stockholders 
when the teams of 1886 were being organized; and 
the practical answer made to the question was one 
which had an important bearing on the welfare and 
success of each team during the season's campaign.. 
"Let the men select their own captain," was one 
response; "The manager had better appoint the 
captain," was another; while in a third case the lead- 
ing official of the club took upon himself the respon- 
sibilit}^ of appointing the captain. The difhciilty in the 
way of either one or the other of these plans succeed- 
ing was the fact that in too many cases there was no 
man in the team competent to fill the bill properly. 
If one of the players from among whom the captain 
had to be selected was found able to act as captain 
from his knowledge of the rules of the game and of 
points of play, he was also generally found to be de- 
ficient in other and equally essential qualifications for 
the position — that is, he either lacked the power to 
control his team by possessing their confidence and 
respect, or he had not the requisite coolness and 
nerve in trymg positions in a match; or he needed 
that important essential, a control of temper. Hence 



THE ART OF FIELDING. 121 

the captaincy of teams, in many instances, fell into 
hands unfitted for the duties devolving upon the posi- 
tion. To be able to captain a first-class professional 
nine properly is to do something scarcely one player 
out of fifty can do. Let us glance for a moment at 
the qualifications necessary in a first-rate captain of a 
nine, and then we can judge better v^hether the club- 
team about selecting a captain possesses any player 
competent to till the office, even acceptably. No po- 
sition in a professional nine requires such marked and 
peculiar abilities as that of a first-class captain. One 
of the most important requisites is thorough control 
of temper — without that, all the other essentials will 
be practically useless; for of what avail are familiar- 
ity with the points of play, or even a thorough knowl- 
edge of the rules of- the game and of strategy, if the 
judgment is to be warped and marred by an un- 
curbed temper? Then, again, a model captain has a 
quiet way of doing his work, and a happy faculty of 
commanding obedience from his men, which tells 
with great effect; while an ordinary, commonplace 
captain simply uses his power in a way that only ir- 
ritates and annoys his men, and draws from them but 
a sullen and reluctant obedience, at best. There is a 
vast difference in the quality of the field-work done 
by a team who only obey their captain because the 
pv.*^alty of disobedience is a forfeiture of salary, and 
tha.^ prompt assent to the captain's plans and opinions 
in the field-play of the team which respect and esteem 
for the officer in power alone exact. The possession 



122 THE ART OF FIELDING. 

of power to control players is something which 
tempts a man to show his true disposition when 
he least expects it; and just here, in this one 
thing, comes in a test as to whether this, that or 
the other man is fitted to act as captain. Look at 
a regiment of soldiers with its ten captains, and 
note the difference in the actions of the companies 
under their command. While all are bound by army 
rules to a certain strict obedience to the commands of 
their captain, how differently are these commands 
obeyed! With one captain how prompt to each beck 
and call is every man in the ranks, while with another 
nothing but the letter of the law is obeyed. Just so 
is it in the captaincy of professional nines; and hence 
it is that so much importance is attached to the selec- 
tion of the captain. Of course, when you have a 
manager who, to a certain extent, practically per- 
forms many of the duties of field-captain, the nominal 
captain becomes the mere vehicle for carrying out 
the behests of the man really at the head. But in 
cases where the manager is not sufficiently posted to 
interfere with the field-work in a match, then the 
selection of the captain becomes a very important 
matter. 

A captain of a professional nine the moment he 
accepts the responsibility of the position should make 
all realize the fact that he alone is captain, and not 
allow himself to be dictated to or interfered with 
either by influential members, ambitious directors, or 
officious presidents. To listen to their advice or sug- 



THE ART OF FIELDING. I23 

gestions is one thing. But to be requested to do this 
or that against his own convictions is altogether a 
different thing. 

There is another thing to be taken into consideration 
in selecting the team captain, and that is to let your 
choice be guided by the ability a certain player pos- 
sesses for ruling his men by showing that he takes an 
interest in their personal welfare; to that extent, in 
fact, that it is a pleasure to him to see them excel in 
their work. It is only this that will elicit that will- 
ing obedience which yields the best returns. It 
should be borne in mind that no player can captain a 
nine without giving umbrage to his men in some way 
or other; the exigencies of the game involve the com- 
mission of errors of one kind or another to an extent 
that will give rise to censure, perhaps unjust rebuke, 
too, at times; but when this censure comes from a 
captain who is known to do his best for his men, it 
only temporarily annoys, and frequently is silently 
passed by. Not so when an arbitrary, hot-tempered 
captain has control ; then the natural result is an effort 
of his men to "get square with him," even at 
the cost of some point in the game being lost; and 
with this follows that feeling of ill-will and discord 
which is death alike to discipline and effective play. 

One thing is very essential to look out for in or- 
ganizing a team and selecting a captain, and that is 
to see that there be no rivals for the office in the 
ranks. In other words, avoid having ex-captains or 
ex-managers in your team ; or if this cannot be avoided, 



124 THE ART OF FIELDING. 

see to it that the loop-hole be left for the ambitious 
hopes of preferment by the ex-captain or manager in 
the team who has been obliged to accept a subordi- 
nate position. Another important matter for consider- 
ation is that the player selected for captain should 
possess determination of character. An effective cap- 
tain must know no such word as vacillation. The 
captain who hesitates is lost. Let him be a man who, 
after once having decided, abides by that decision; 
not, of course, with that mule-like obstinacy which 
admits of no advice or instruction, but with that 
prompt determination which marks a man of strong 
character. 

Still one more point, and we have done with our 
model captain. While it is, of course, proper that 
the captain should be held to a due responsibiliy for 
the conduct of his men on the field — the club-mana- 
ger should attend to them off the field— this should 
only be done when he is given full power to act, and 
not when he is made only nominally captain through 
the interference of the manager, or some club official, 
or stockholder, who, by his petting of one or more 
men of the team, practically nullifies the orders of the 
captain. To place a man in command of a nine and 
then allow this, that or the other club official to in- 
struct players what to do in the field, or to insist upon 
the men being placed or appointed to their respective 
positions in opposition to the captain's wishes, at the 
same time holding the captain responsible for the 
faulty play of so badly governed a team, is a gross 



THE ART OF FIELDING. 



'25 



act of injustice. The fact is, no club team can be 
successfully organized or properly run while the club 
board of directors or any other club officials are 
allowed to interfere outside the line of their special 
duties. The club manager finds his duties confined 
to the disbursement of expenses, the collection of 
receipts, and the looking-after the general welfare ot 
the team, and, in fact, "running the team " outside 
of the field , while the captain runs the team on the 
field, and there only. Now, it will be readily seen 
that the requisites alluded to above are such as but 
few players possess. 

The captain of a nine should give all his in- 
structions to players quietly, and especially should rep- 
rimands be avoided on the field before the public. No 
player likes censure at any time, but he will bear it 
patiently when deserved, and profit by it, too, but not 
unless it is done quietly, and to himself. Captains 
should especially bear in mind the important fact that 
fielding errors carry with them their own punishment, 
and that openly censuring a man for muffing a ball or 
failing to throw accurately is the very worst plan for 
preventing its repetition. A fielder will do his best 
for his own sake, and no amount of censure will im- 
prove him if he does not. If a fielder errs in a point 
of play, or in his interpretation of a rule, that is dif- 
ferent; but if he muffs a ball, fails to catch it, or 
throws wildly, such errors had best be passed by in 
silence, or censure be kept back until the player can 
be rebuked in private. 



126 THE ART OF FIELDING. 

In choosing a captain, avoid both the man who has 
no self-control, is quick of temper, dictatorial in his 
manner, and too fond of having this and that done 
simply because it is his desire that it should be so; 
and also the man who is easily influenced, possesses 
no determination of character, is afraid of censure, 
and who is too desirous of pleasing friends to act for 
the best interests of his club. 

Some men command the best services of those who 
are under their control by a happy faculty of combin- 
ing a kindly interest and pleasant way in dealing 
with subordinates, with a determination of character 
which admits of no disobedience when a request is 
earnestly made. To do this is an essential in the 
qualifications of the captain of a nine. Your arbitrary 
martinets command only a discontented obedience 
from their men; there is no heart-service in their 
work, and this latter is especially necessary in a well- 
organized nine. To get a professional nine into good 
working condition, so as to develop all the strong 
points of the individual players, and at the same time 
train them up to work as a harmonious whole, is a 
task requiring sound judgment and that determined 
spirit which overcomes all obstacles by the mere 
strength of steadv perseverance in the right cause. 



THE ART OF FIELDING. 



27 



THE BEST FIELDING AVERAGES 
OF 1885. 

The following are the fielding averages of the 
players of the National League who took part in 
over fifty games of the League championship series 
in 1S85. Those of the pitchers are not given, as the 
figures of the fielding averages of pitchers in the 
official tables are mixed up with those of assistance 
on strikes, and these have nothing to do with a 
pitcher's fielding, and therefore the official record in 
this respect is incorrect as far as it aims to be a criter- 
ion of good fielding. 

CATCHERS. 



Bennett . . 

Flint 

Ewing . . . 
Deasley . . 
Gilligan . 
Myers. . . , 
Briody . . . 



Detroit . . . 
Chicago . . . 
New York . 

Providence 

Buffalo 

St. Louis . . 



61 
67 
67 
54 
65 
69 

59 



PER 
CENT. 



891 
862 

840 
805 
791 

773 



FIRST BASEMEN. 



NAME. 


CLUB. 


GAMES. 


PER 
CENT. 


Brouthers 


Buffalo 

St. Louis 


98 
100 
I ID 
I II 

69 
lOI 

92 
112 


.978 

•977 
.975 
.974 
•973 
.972 
.970 
.958 


McKinnon 


Connor 


New York 


Farrar 

McQueery 


Philadelphia 

Detroit 


Start 


Providence 

Buffalo 


Morrill 


Anson 


C^.hiracrn 





128 



THE ART OF FIELDING. 
SECOND BASEMEN. 



NAME. 


CLUB. 


GAMES. 


PER 
CENT. 


Richardson 


Buffalo 


106 
112 

68 

68 

109 

93 


.928 
.924 
.916 
,904 




St. Louis ,.. 

New York 


Gerhardt 


Crane ..• 


Detroit 


Farrell 


Providence 

Chicago 

Philadelphia 


Pfeff er 


Myers 


.885 



THIRD BASEMEN. 



NAME. 



White 

Williamson 
Caskins . . . 
Esterbrook 

Sutton 

Denny . . . . 
Donnelly . . 
Mulvey . . . 



Buffalo 

Chicago . . . , 
St. Louis . . , 
New York, , 

Boston 

Providence . 

Detroit 

Philadelphia 



GAMES. 



in 

68 
84 
91 

83 

55 
106 



SHORT STOPS. 



NAME. 


CLUB. 


GAMES. 


PER 

CENT. 


Glasscock 


St. Louis 


109 
III 
103 

58 

79 

112 

65 


.912 


Ward 


New York 




Bastian 

Irwin ... 


Philadelphia 

Providence 


.866 


Wise . . . . 


Boston 

Chicago 

Buffalo 


.861 


Burns 

Rowe 


.849 
.842 



THE ART OF FIELDING. 



OUT-FIELDERS. 



Fogarty . . . 
Gillespie. , . 
O'Rourke . 
Andrews . . 

Shafer 

Manning . . 
Thompson. 
Manning . . 
Dorgan . . . 
Quinn . . . . 
Dalrjmple 

Gore 

Seery 

Carroll 

Crowley . . 

Wood 

Hanlon . . 

Lillie 

Radford. .. 

Hines 

Kelly 

Poorman . . 



Philadelphia 
New York. . 



Philadelphia 
St. Louis.. . . 
Philadelphia. 

Detroit 

Boston 

New York. . 
St Louis . . . 
Chicago .... 



St. Louis.. . 
Providence 
Buffalo 
Detroit 



Buffalo 

Providence 



Chicago 
Boston . 



GAMES. 



98 
69 

107 

62 

83 

57 
"3 
109 

59 

104 

92 

70 

104 

III 

89 

92 

70 

56 



PER 
CENT. 

940 

923 
921 
919 
918 
911 
898 
897 
896 
896 
889 

888 
888 
886 
885 
881 
871 
871 
863 
861 

859 
842 



THE AMERICAN ASSOCIATION. 

The foliowing are the best averages of the players 
of the American Association who took part in fifty 
championship games and over in 1885. 

CATCHERS. 



NAME. 



Milligan. . . . 
Bushong. . . 
Traffley. ... 
Carroll .. ., 
Reipschlager 



Athletic 

St. Louis 

Baltimore... 
Allegheny . . 
Metropolitan 



GAMES. 


PER 




CENT. 


6l 


.936 


85 


•933 


63 


.927 


61 


•915 


61 


.865 



130 



THE ART OF FIELDING. 
FIRST BASEMEN. 



Scott.... 

Phillips . 
Orr 

Field... 
Comisky 
Stearns. . 
Stovey. . 
Reilly... 
Kerins . , 



CLUB. 



Allegheny 

Brooklyn 

Metropolitan 

Allegheny & Balto 

St. Louis 

Baltimore 

Athletic 

Cincinnati 

Louisville 



55 
100 
107 

83 
63 
81 
106 
97 



PER 

CENT. 



984 
976 

974 
973 
973 
970 
969 
967 
954 



SECOND BASEMEN. 



Barkley . . . 

Smith 

McPhee.. . . 

Foster 

Pinckney . . . 
McClennan . 
Strieker. •. . 
McLaughlin 



St. Louis . . . 
Allegheny . . 
Cincinnati . . 
Metropolitan 
Brooklyn . . . 

Athletic 

Louisville . . 



97 

106 

no 

52 

57 

56 

105 

92 



PER 
CENT. 



941 
924 

923 
919 
901 
899 
893 



THIRD BASEMEN. 



NAME. 


CLUB. 


GAMES 


PER 
CENT. 


Hankinson 


Metropolitan 

Athletic 


95 
95 

57 

lOI 

109 

52 

99 

112 

100 


.912 


Corev 


.'894 
.891 

.878 




Brooklyn 


Muldoon 

Latham 


Baltimore 

St. Louis 


Pinckney 


Brooklyn 




Kuehne 


Allegheny . 

Cincinnati 

Louisville 


868 


Carnenter 


.861 


Reccius 


.838 



THE ART OF FIELDING. 
SHORT STOPS. 



131 



NAME, 


CLUB. 


GAMES. 


PER 
CENT. 


Whitney 


Allegheny . 

Louisville 

Metropolitan 

Biooklyii 


79 

76 
107 
109 
112 

98 
1 12 

92 


rtA 'y 


Miller 

Nelson 




919 
907 

r, 

883 
880 


Smith 


G leason 


St Louis 

Baltimore 


Macullar 


Fennelly 


Houck 


Athletic 


866 











LEFT FIELDERS. 



NAME. 


CLUB. 


GAMES. 


PER 
CENT. 


Sommer 


Baltimore 


107 

If 9 

95 
112 
61 
96 


-9 9 
.9OT 


Maskrey • 


Louisville . . • . 


O'Niell 


St. Louis 


Purcell 


Athletic 

Metropolitan 

Cincinnati 

St. Louis 

Allpcrhpnv 


Kennedy 


.870 
.869 
.858 
.809 


Jones 


Robinson 


Eden 





CENTER FIELDERS. 



NAME. 



Welch . . 
Larkin . . 

Mann 

Hotaling . 
Browning 
Roseman, 
Clinton. . , 
Casey . . . , 



CLUB. 



St. Louis . . . 
Athletic . . . 
Allegheny . . 
Brooklyn . . . 
Louisville . . 
Metropolitan 
Cincinnati . . 
Baltimore . . . 



GAMES. 


PER 




CENT. 


112 


.959 


61 


.924 


97 


.915 


95 


.900 


113 


.898 


100 


.890 


105 


.879 


65 


.825 



132 



THE ART OF FIELDING. 



RIGHT FIELDERS. 



Corkhill . 

Nicol 

Wolt . . . . 
Brady . . . 
Cassidy . . 
Coleman. 
Brown . , . 



Cincinnati . . , 
St. Louis . . 
Louisville. . . 
Metropolitan 
Brooklyn . . . 

Athletic 

Allegheny . . 



106 
III 
112 
104 

54 

89 

107 



PER 

CENT. 



935 

905 
905 

894 
858 
852 
847 



THE EASTERN LEAGUE. 

The following are the best fielding averages of the 
Eastern League players in championship games 
for 1885. 



CATCHERS. 



Cook 

Grady 

Fulmer 

McCloskey 
Hafford .... 

Tate 

Oldfield . . . 
Cuflf. 



CLUB. 



National . . . 
Newark . . . 
National . . . 
Trenton . . . 
Lancaster. . 
Virginia . . . 
Lancaster. . 
Jersey City 



34 

35 

38 
35 
43 
35 
33 



PER 
CENT. 



927 
927 
920 
910 
900 

894 
878 

837 



FIRST BASEMEN. 



NAME. 


CLUB. 


GAMES. 


PER 
CENT. 


Baker 


National 


59 
30 

5° 

58 

71 
92 
42 


.970 




Bridgeport 


.968 
.965 


Mack 


Lancaster 


Walker 




.962 
.948 

• 943 


Parnell 


Norfolk 


Latham 


Virginia 


Ford 


Jersey City 


.920 



THfi ART OF FIELDING. 
SECOND BASEMEN. 



133 



Higgins . . . . 

Holland 

Jones 

Jacobs 

Knowles . . . 
Brouthers . . 
Mclaughlin 



CLUB. 



Virginia . . 
Lancaster. , 
Newark . . 
Norfolk... 
National. . , 
Trenton.. . 
Jersey City 



85 

?5 
83 
40 

91 
40 

74 



PER 
CENT. 



930 
910 
906 
906 

881 
878 
87s 



THIRD BASEMEN. 



Nash 

Shindal . . . 
Hatfield . . . 
Gladman . . 

Carl 

Donald. . . . 
Secatt . . . . 
McCormick 



Virginia . . . 
Wilmington 
Newark . . . 
National .. . 
Norfolk.... 
Lancaster. . 
Trenton . . . 
Jersey City 



GAMES. 


PER 




CENT. 


73 


.889 


63 


.860 


74 


.855 


84 


.8.SI 


37 


.8^9 


68 


.833 


61 


.833 


39 


.750 



SHORT STOPS. 



L. Smith . . 
Tomney . . . 
Mathias . . . 

White 

Lang 

Carl 

Greenward 
Kappel . . . . 



CLUB. 



Newark . . . , 
Lancaster. . . 

Norfolk 

National 

Jersey City.. 
Norfolk . . . . 
Virginia . , . . 
Wilmington , 



94 
67 

33 
95 
48 

3° 

78 

38 



PER 
CENT. 



.893 
.885 
.885 
.878 
.875 

.871 
.859 



134 



THE ART OF FIELDING. 
LEFT FIELDERS. 



Burch . . , 
Glenn . , 
Beecher . 
Johnston 
Reccius , 
Jacoby . . 
Moore. . , 
Birchall . 
Parker . , 
Johnston 



CLUB. 



National 

Virginia . . . . 
Bridgeport . . 

Virginia 

Trenton . . . . 

Norfolk 

National . . . . 
Newark . . . . 
Lancaster. . . 
Wilmington. 



55 
82 

30 

67 
86 

33 
67 

33 

82 

31 



PER 
CENT. 



927 

903 
901 

854 
840 

»8oo 

793 
790 

772 



CENTER FIELDERS. 



CLUB. 



McTamany 

Casey 

Hoover. . . . 

Shack 

Kemzla. . . . 



Lancaster. . 
Newark . . . 
National .. . 
Wilmington 
Trenton . . . 



GAMES. 



67 

41 
84 

30 

44 



PER 
CENT, 



.904 
.878 
.856 

.815 
.760 



RIGHT FIELDERS. 



NAME. 


CLUB. 


GAMES. 


PER 
CENT. 


Brouthers 


Trenton 


45 

45 

57 


:^ 


Corcoran 


Virginia 


Gallegan 


Norfolk 


Tiernan 


Trenton 


.865 
.800 


Powell 


National 



THE SOUTHERN LEAGUE. 

The following are the averages of players of the 



THE ART OF FlELOrNC. 



35 



Southern League who took part in over thirty cham- 
pionship games in 1885. 



CATCHERS. 



NAME. 



Gillen... 
Hellman. 

Cox 

Tracy . . . 
Mappis. . 
Roxbury 
Bullar... 
Srrauss. . 
McVey. . 



CLUB. 



Macon 

Nashville . . . 
Coattanooga 
Birmingham 

Atlanta 

Augusta. . .. 
Chattanooga 
Columbus . . 
Atlanta 



GAMES. 



PER 
CENT. 



31 

48 

36 
36 

34 

57 
47 
40 
40 



972 
965 
959 
956 
953 
944 
940 

923 
921 



FIRST BASEMEN. 



NAME. 


CLUB. 


GAMES. 


PER 
CENT. 


Andrews 


Columbus 


84 

73 

35 

72 

37 


.968 
.967 
.964 
.962 
.958 

'.948 


Harbridge 

W O'Brien 


Augusta 


Memphis 


Lever •..•• 


Macon , 


Stevens 


Macon 


Henke 


Atlanta 


SoMrdem 


Nashville 



SECOND BASEMEN. 



NAME, 


CLUB. 


GAMES. 


PER 
CENT. 


Mack 


Macon 


89 

57 
97 
57 

47 


.930 
.929 
.922 

;| 
.864 


Heard 


Augusta 


Bittman 

Geiss 


Atlanta 

Memphis 


Ollerson 


Chattanooga 

Columbus 


H. Collins 


Coridon 


Birmingham 

Nashville 


Kellogg 



136 



THE ART OF FIELDING. 
THIRD BASEMAN. 



NAME. 



McSorley. 
Lyons. . . . . 
H. Kappell 
Werrick. . , 

Leary 

Steinhoff. . 
Hillery.... 
Harris.. . . 
Barber ... 
Cleveland 



CLUB. 



Memphis . . . 
Columbus. .. 
Augusta . ... 
Nashville . .. 
Augusta . . . . 
Memphis . . . 
Nashville . . . 
Chattanooga 
Birmingham 
Atlanta 



GAMES. 



39 
93 

3° 
38 
67 

48 
44 
30 
41 

85 



PER 

CENT. 



.894 
.874 
.847 
.846 

■837 
.837 
.822 
.816 
.812 
.811 



SHORT STOPS. 



NAME. 


CLUB. 


GAMES. 


PER 

CENT. 


Miller 


Columbus 


52 

90 


.917 


Cross 


Memphis 

Macon 


.871 


Walsh 


.8?! 

.871 


Cline 


Columbus 


Beard 


Nashville 


.860 


Doyle 

Cahill 


Memphis 


.838 
.836 


Atlanta 


T. Collins 


Macon 

Birmingham 

Augusta 


.820 


Roche 


.803 


Esterday 


.783 



LEFT FIELDERS. 



Donnelly. . . . , 

Zell , 

Hamburg 

C. L. Murphy 

Goldsby , 

Ryn 

Behl 



Augusta .... 

Macon 

Columbus. .. 
Birmingham 

Atlanta 

Chattanooga 
Augusta . . . 



31 
34 

72 

56 

54 
44 



PER 
CENT. 



967 
927 

889 
882 

8^5 
794 
789 



THE ART OF FIELDING. 



137 



CENTER FIELDERS. 



NAME. 


CLUB. 


GAMES. 


PER 

CENT. 


Deistel 


Nashville 


60 

It 

54 

tl 


.973 
.911 


Graham 


Memphis 




.878 

.841 
.876 


Sylvester 


Memphis 


Gilks 


Chattanooga 

Memphis 


McLaughlin 


«73 







RIGHT FIELDERS. 



NAME. 


CLUB. 


GAMES. 


PER 
CENT. 


Peltz 


Macon 

Nashville 

Chattanooga 

Atlanta 


75 
43 
39 

47 


.884 
.884 

.873 
.771 


Sneed 


Seigle 

Goldsbj 



138 THE ART OF* FIELDING. 

TECHNICAL TERMS IN FIELDING. 

Assisting. — A fielder "assists" when he throws a 
ball to the baseman on which the base runner is put 
out, or in any other way assists a fielder to put a 
player out. 

Basemen. — These are the players who occupy 
the positions of first, second and third basemen. 

Caught Napping. — A base runner is ' said to be 
"caught napping" when a base player or a fielder 
happens to touch him with the ball while standing off 
his base; or when caught between two bases in try- 
ing to reach another base. 

Double Play. — A double play is made when 
the fielders put out two men with the ball after it has 
been hit and before it is pitched to the bat again, or if 
two players be put out between the time the ball is 
sent to the bat, and before it is again delivered. 

Dropped Balls. — Any fly ball batted or thrown 
to a fielder, which is dropped by him before it is set- 
tled in his hands, is a "dropped" ball and should be 
charged as an error, unless batted or thrown with un- 
usual speed. 

Fly Tip. — This is a foul ball held by the catcher, 
sharp from the bat. 

Foul Fly. — Any high ball held on the fly is 
called a foul fly. They are the most difiicult fly balls 
to hold sent from the bat, on account of the "twist" 
they have imparted to them by the bat. 



THE ART OF FIELDING. I39 

Fly Catches. — All balls held by fielders from 
the bat before the ball touches the ground, no matter 
how, or in what manner they are held, or whether 
held from the hands of another fielder, are legitimate 
"fiy catches." 

Hot-Balls. — A "hot" ball is one which is either 
thrown or hit to a fielder with great speed. 

In-Fielders. — The in-fielders of the party of 
nine in a match consist of the catcher, pitcher, short- 
stop, and the three basemen. 

Muffed Balls. — A ball is "muflFed" when the 
fielder fails to stop it as it comes within his reach, 
or to pick it up and hold it, so as to throw it in time; 
or to hold it when it is thrown to him accurately, un- 
less unusually swift. 

Muffins. — This is a term applied to the poorest 
class of fielders. A player may be able to hit long 
balls, and to make home runs, and yet for all that be 
a veritable mufiin, from the simple fact that he cannot 
field, catch, or throw a ball decently. "Muffins" are 
the lowest in the class of club nines. 

Out-Fielders. — The three out-fielders in a nine 
are the left, center and right fielders, all of whom 
ought to be able to throw a ball a hundred yards or 
more. 

Over Throws. — Any fielder throwing a ball out of 
the reach of the player he is throwing to is to be 
charged with an "over throw." 



140 THE ART OF FIELDING. 

Passed Balls. — Whenever the catcher allows a 
ball to pass him on which a base is run, or should he 
muff a ball, and a base be run in consequence, he is 
to be charged with a passed ball. No ball can be 
charged as "passed," that is not within fair reach. 

Right Short. — This is the name of the position 
in the field occupied by the player in a game, who 
stands ia a similar position between second and third 
to that of the regular short-stop. It is the second 
baseman's position when fielding for batsmen who hit 
to right field. 

Run Out. — The fielders run an opponent out 
when they touch him while he is half way, or nearly 
so, between the bases. The fielder who touches him 
is credited with putting him out, and the one who 
passed the ball to such fielder is credited with ''assist- 
ing." 

Running Catch. — These catches are among the 
prettiest a fielder can make. They are made when 
the ball is held on the fly while the fielder is on the 
run. 

Triple Play. — Whenever three players are put 
out by the fielders after a ball has been pitched to the 
bat, and before it is again sent to the bat, a triple play 
is made. 

Wild Throws. — A wild throw is made when a 
ball is thrown by one fielder to another out of the 
legitimate reach of the fielder the ball is thrown to. 




and 
We 
No. 



SPALDING'S TRADE MARKED CATCHERS' 
GLOVES. 

After considerable ex- 
pense and many experi- 
ments, we have finally 
perfected a Catchers' 
Glove that meets with 
general favor from pro- 
fessional catchers. 

The old style of open 
backed gloves introduced 
by us several years ago is 
still adhered to, but the 
quality of material and 
workmanship has been 
materially improved, un- 
til now we are justified in 
claiming the best line of 
catchers's gloves in the 
market. These Gloves do 
not interfere with throw- 
ing, can be easily put on 
taken off, and no player subject to sore hands should be without a pair, 
make them in ten different grades, as follows : 
000.— Spalding's Special League Catchers' Gloves. Full left 
hand, back stop glove, made of the heaviest Indian- 
tanned buckskm, the very best that can be procured. 
The full left hand glove is extra padded, and sole leath- 
er finger tips, to prevent the low curved balls irom 
breaking or otherwise injuring the fingers. The right 
hand glove is made with open back and fingerless, thor- 
oughly padded Price per Pair, 

00.— Spalding's League Regidation Catchers' Gloves, 
made of extra heavy Indian-tanned buck, and carefully 
selected with reference to the hard service required of 
them. This Glove has full left hand, as shown in the 
illustration, with fingerless right hand, well padded, 

and warranted Price per Pair, 

O. —Spalding's League Catchers' Gloves, made of extra 
heavy Indian-tanned buck, and carefully selected with 
special reference to the hard service required of them, 
open back, both hands fingerless, well padded, and 

fully warranted Price per Pair, 

No. 1. — Spalding's Professional Gloves, made of Indian-tanned 
buckskin, open back, well padded, but not quite as 

heavy material as the No. o Price per Pair a oo 

The above Gloves are Trade Marked and fully warranted. 

AMATEUR CATCHERS' GLOVES. 

To meet the demand for a cheaper grade of Gloves, we have added the 

following line: 

No. A.— Full Left Hand Catchers* Gloves, equal to most profes- 
sional gloves in the market Price per Pair, 

No. B. — Amateur Gloves, made of buckskin, open back, well pad- 
ded, and adapted for amateur players Per Pair 

No. C— Practice Gloves, made of light material, open back, well 

padded Per Parr i oo 

No. D. -Junior Gloves, open back, a good glove at the price *• 75 

No. E.— Cheap open back glove •' 50 

No F — " " " " " 25 

i^^Any of the above Gloves mailed postpaid on receipt of price. In 

ordering, please give size of ordinary dress gloves usually worn. 

A. G. SPALDING & BROS., 

108 Madison St., CHICAGO. 841 Broadway, NEW YOBK. 



No. 



$500 



3 50 



SO 



$ 2 50 
I 50 



SPALDING'S_SCORE BOOK. 

Spaldinj^'s new dcsij^n Pocket and Club Score Jiook continues to be the 
popular score book, and is used by all the leading scorers and base ball 
reporters. They are adapted for the spectator of ball games, who scores 
for his own amusement, as well as the official club scorer, who records the 
minutest detail. By this new system, the art of scoring can be acquired in 
a single game. , i. , 

Full instructions, with the latest League rules, accompany each book. 



WHAT AUTHORITIES SAY OF IT. 

Messrs. A. G. Spalding & Biios., Chicago, 111. 

Gentlemen-— I have carefully examined the Spalding Score Book, and, 
without any hesitation, I cheerfully recommend it as the most complete 
system of scoring of which I have any knowledge. 

Respectfully, 
N. E. YOUNG, Official Scorer Nat'l League P. B B. Clubs. 



The new system of score books just issued by A. G. Spalding & Bros, of 
Chicago, are the neatest thing of the kind we ever saw. Every lover of the 
game should have one. They are simple in their construction, and are easily 
■andcrs\.ooCi.—Cincin?iati Enquirer, 

The Tribune has received from A. G. Spalding & Bros., 108 Madison 
Street, a copy of their new score book for use this year. The book or system 
is so far in advance of anything ever before brought out in the way of sim- 
plicity, convenience and accuracy, that it seems wonderful that it was not 
thought of years ago. The new s^le will be in universal use before the 
season is half through. — Chicago Tribune. 

A. G. Spalding, Captain of the Chicago White Stockings, has just brought 
out a new score book, which will meet with the unqualified indorsement of 
everybody who has ever undertaken to score a game of base ball. They are 
of various sizes, to meet the requirements both of the spectator who scores 
simply for his own satisfaction, and for official scores of clubs. The novel 
and commending feature of the book is the manner in which each of the 
squares opposite the name of the player is utilized by a division which 
originated with Mr. Spalding. Each of these squares is divided into five 
spaces by a diamond in its center, from the points of which lines extend to 
each of the four sides of the square. Each of these spaces is designed for 
the use of the scorer according to marks and signs given in the book. By 
thus dividing the squares into spaces he scores without the liability to make 
mistakes. The League rules of scoring are printed in the book. — N.T. Clipper. 

POCKET. 

EACH. 

No. I. Paper Cover, 7 games $ .10 

No. 2. Board Cover, 22 games 25 

No. 3. Board Cover, 46 games 50 

Score Cards 05 

CLUB BOOKS. 

No. 4. Large Size, 30 games $ i .00 

No. 5. Large " 60 games 1.75 

No. 6. Large " 90 games 2.50 

No. 7. Large " 120 games 3.00 

Mailed upon receipt of price. 

A. G. SPAIiDING & BROS., 

108 Madison Street, 241 Broadway, 

CHICAQ-O. NEW TOBE. 



Official League Ball 

Spalding's League Ball is now recognized as the standard in every part 
of the word where base ball is played. It was first introduced in 1S76, and 
made under specifications designed by A. G. Spalding, whose long con- 
nection with the game had given him a knowledge of the requirements of a 
first-class ball not possessed by any other manufacturer. Every pains was 
taken with its manufacture, and it soon became very popular among pro- 
fessional players on account of its uniformity, elasticity and durability, 
which resulted in its being adopted as the official ball of the National 
League in 1S7S, and has been readopted every year since by the leading 
associations, including 1SS6, 

The large sale and great demand for this ball has brought out many 
imitators, who would pirate on our trade and reputation by offering an in- 
ferior article at a lower price, and endeavor to create the impression that 
these inferior low grade balls are the same, or are equal to Spalding's 
Official League. We would caution ball players against infringements, and 
urge them not to be misled by the misrepresentations of dealers whose in- 
creased profits on the cheap goods may have something to do with their 
statements. 

Our League Ball can be obtained of any first-class dealer in base ball 
supplies, to whom a liberal trade 'discount is allowed. 

The following base ball leagues and associations have adopted the 
Spalding League^Ball as the official ball of their associations for 18S6, and 
by their regulations, all championship games played during the season, this 
ball MUST be used : 

THE NATIONAL LEAGUE. 

Composed of the following Clubs: 

Chicago, New York, Boston, Detroit, Philadelphia, St. Louis, Kansas 
City and Washington. 

THE NEW ENGLAND LEAGUE. 

Composed of Boston, Haverhill, Newburyport, Lawrence, Portland, and 

Brockton. 

THE EASTEBN LEAGUE. 

Composed of Newark, Jersey City, Waterbury, Bridgeport, Hartford, 
Providence and Troy. 

THE INTERNATIONAL LEAGUE. 

Composed of Utica, Rochester, Syracuse, Binghamton, Oswego, Buf- 
falo, Hamilton and Toronto, Ont. 

THE NORTHWESTERN LEAGUE, 

THE WESTERN LEAGUE, 

THE AMERICAN COLLEGE ASS'N, 
THE NORTHWESTERN COLLEGE ASS'N. 
THE NEW YORK INTER STATE COLLEGE ASS'N. 



We refer with considerable pride to the following Resolution unanimous- 
ly adopted at the recent annual meeting of the American College Associa- 
tion, held at Springfield, Mass., March 12, 1SS6. 

'■'■Resolved, that the American College Association in unanimously adop't- 
ing Spalding's League Ball for 1SS6, express their great satisfaction which 
this ball gave the Association last year, aad also cheerfully indorse it as 
the best ball they have ever used." 



SPALDING'S TRADE MARKED BATS. 

Spalding's Trade Marked Bats were first introduced in i8|7, and they 
have gradually grown into popularity, until now they are usea almost ex- 
clusively by all prominent professional and amateur players. All the tim- 
ber used in these bats is allowed to season from one to two years before 
being made up, and the resu t is we are enabled to make much lighter and 
stronger bats than where the timber is hastily "kiln-dried," as done by 
nearly all manufacturers of cheap goods. Each bat is turned by hand, after 
the most approved and varied models, and if found to answer the require- 
ments as to weight, size, length, etc., the Trade Mark is stamped on each 
bat to insure its genuineness. The success and popularity of these bats, 
which is due to the very great care that has been taken in their manufact- 
ure, have brought out many cheap imitations and we would caution the 
trade to see that the Spaldhijor Trade Mark is stamped on each bat. 

Each. To 
No. OO.— Spalding's Special Black Band Lieague Bat, made Clubs, 
out of the choicest white selected, second growth ash, on per doz. 
the most approved models, as recommended and used by 
League players. Each bat is carefully weighed, and the 
weight stamped in ounces under the Trade Mark. Each 
Bat is encased in a strong paper bag, lathe polished, and 
guaranteed to be the finest bat made. Having purchased 
the patent of Wm. Gray, of Hartford, Conn., covering the 
use of a granulated handle, and believing it to have great 
merit in preventing the hand from slipping, we have decid- 
ed to use it on this grade of bats $ 75 $S CO 

No. O. — Spalding's Black Band Ijeagu© Bat, made on the 
most approved model, as recommended by prominent 
League players. These bats are made from the best se- 
lected ash, lathe polished, weighed and stamped, each bat 

encased in a strong paper bag $0 5 $0 

No. 1.— Spalding's Trade Marked Ash Bat, made on three 
different models, finished with two coats of the best orange 
shellac, and lathe polished, 35 to 3S inches. Each bat 
weighed and stamped with weight in ounces under the 

Trade Mark 40 4 00 

No. S.— Spalding's Trade Marked Cherry Bat, made on three 
different models, finished with two coats of the best orange 
shellac, and lathe polished, 35 to 3S inches. Each bat 
weighed and stamped with weight in ounces under the Trade 

Mark 40 400 

No. 3.— Spalding's Trade Marked Basswood Bats, light 
weight, clear, white selected timber, lathe polished, 36 to 
39inches. Each bat weighed and stamped with weight in 

ounces under the Trade Mark 30 3 50 

No. 4.-^palding's Trade Marked "WiUow Bat, light weight, 
large handles, lathe polished, each bat encased in a strong 
paper bag. The best light wood bat made, 36 to 39 inch. 
Each bat weighed and stamped with weight in ounces 

under the Trade Mark V •.• V * j 5° S 0° 

No. IB.— Spalding's Trade Marked Boys' Ash Bat, finished 

same as No, i, 30 to 34 inches 25 2 50 

No. 3B.— Spalding's Trade Marked Boys' Basswood Bats, fin- 
ished same as No. 3, 30 to 34 inches v-.-V-j ^5 250 

No. AA.— Spalding's Trade Marked Fancy Ash Bats, finished 
in a lieht mahogany color, with patent granulated handle. 
A^'ery highly poli-hed, put up in strong paper cases. Each 

bat weighed and stamped 75 7 5° 

No. BB.— Spalding's Trade Marked Fancy Basswood Bats. 
finished in a handsome mahogany color. Each bat weighed 
and stamped. Very highly polished, put up in strong 

paper cases 75 *J S^ 

PLAIN FINISHED BATS. Each. Per doz. 

No. 6.— Men's Ash, Plain finish, ass'd length, 36 to 39 in. $ 25 $1 go 

.< 7._ .« Basswood, " " " '^ 36 to 39 in. 20 150 

" 8.-Boys' Ash, " " " " 28 to 32 in. 15 100 

.. 0_ ♦« Basswood, " " " " 28 to 32 in. 15 i 00 



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